The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005) - Plot Summary - IMDb The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005) Plot Summary Showing all 6 plot summaries Four children from the same family have to leave their town because of the bombings of WWII. A women and a professor take the children to their house. While playing a game of hide-and-seek, the youngest member of the family, Lucy, finds a wardrobe to hide in. She travels back and back into the wardrobe and finds a place named Narnia. After going in twice, the four children go in together for the last time. They battle wolves, meet talking animals, encounter an evil white witch and meet a magnificent lion named Aslan. Will this be the end of their journey to Narnia or will they stay? - Written by John ewart Four siblings are sent away from home during the blitz of WWII. They are sent to be watched over by an old Professor Kirke, who owns a massive mansion. Once there, they stumble upon an enormous wardrobe which transports them to the world of Narnia.

Narnia itself was once a peaceful realm filled with talking animals, fauns, Giants and dwarves that is now under a cursed eternal winter by the villainous White Witch. With aid from the majestic lion Aslan, the four lead Narnia into an all out war as they fight to outwit the Witch and restore peace to the land. During the World War II bombings of London, four English siblings are sent to a country house where they will be safe. One day Lucy finds a wardrobe that transports her to a magical world called Narnia. After coming back, she soon returns to Narnia with her brothers, Peter and Edmund, and her sister, Susan. There they join the magical lion, Aslan, in the fight against the evil White Witch, Jadis. - Written by Jwelch5742 Based on the 2nd in the series of books by C.S. Lewis , "The Lion, the Witch and the Wardrobe," the film tells the story of 4 children who go to live with an old professor during the war. One day, while playing hide and seek, Lucy, the youngest of the children, finds a wardrobe which leads to a magical land called Narnia.

However Narnia is being ruled by the evil White Witch who has made it snow for 100 years and according to an old prophecy, Edmund, Lucy, Peter and Susan are the "chosen ones" who will defeat the Witch. They are assisted by the true ruler of Narnia, the lion, Aslan. With the good Narnians on their side all 4 children must now defeat the witch using all their strength and fulfill their destinies to become the new kings and queens of Narnia. - Written by x_baby angel Peter, Susan, Edmund, and Lucy are deported from London to the house of an eccentric professor during World War II. They find life in the house extremely dull, until Lucy discovers a wardrobe that leads to a magical world called Narnia, where animals can talk and all are ruled over by the wise and benevolent lion Aslan. The others don't believe her at first, but soon all of them go through the wardrobe and discover all is not well in Narnia. The land is being kept in a perpetual winter by the evil White Witch, Jadis, who turns anyone who doesn't obey her into stone.

The children join Aslan and the animals loyal to him in an attempt to vanquish Jadis. - Written by rmlohner Four kids travel through a wardrobe to the land of Narnia and learn of their destiny to free it with the guidance of a mystical lion. Super Reviewer ½ Powerful, epic, and suitably touching, The Lion, The Witch and the Wardrobe deftly balances Christian themes with humor, family issues, and intense, well-executed action sequences. Overall, a must-see, well-done fantasy film that can be watched over and over. Matthew Samuel Mirliani Super Reviewer With an appeal to both adults and children, the British author C. S. Lewis wrote seven books in his Chronicles of Narnia series. The stories are rich in mythology and religious symbolism, drawing upon archetypes from the Norse, Greco-Roman, Persian, medieval chivalric, and Judeo-Christian traditions. Now comes this wonderful film of the first chronicle, "The Lion, the Witch, and the Wardrobe." The beautiful cinematography and the terrific performances of the children make this film outstanding for family viewing.

As integrated with the live actors, the colorful animal characters, especially the Lion (Jesus), reveal brilliant technical film-making as well. Lewis's books are not overtly allegorical. Rather, the symbols and the messages are subtle. The four children in the story (Peter, Susan, Edmund, and Lucy) were inspired by the actual children evacuated from London during World War II, who spent time in Lewis's home. Lewis wanted his books to be enjoyed by young people who would later in their lives draw the spiritual meanings from the stories. In this area, the film is enormously faithful to the original book and would have made the author extremely proud. 4 Stars 12-29-06 (Updated) Bruce Bruce The Lion, the Witch, and the Wardrobe Quotes by C.S. Lewis Like “I wrote this story for you, but when I began it I had not realized that girls grow quicker than books. As a result you are already too old for fairy tales, and by the time it is printed and bound you will be older still. But some day you will be old enough to start reading fairy tales again. You can then take it down from some upper shelf, dust it, and tell me what you think of it.

I shall probably be too deaf to hear, and too old to understand a word you say, but I shall still be your affectionate Godfather, C. S. Lewis.” Like “Once a King in Narnia, always a King in Narnia. But don't go trying to use the same route twice. Indeed, don't try to get there at all. It'll happen when you're not looking for it. And don't talk too much about it even among yourselves. And don't mention it to anyone else unless you find that they've had adventures of the same sort themselves. What's that? How will you know? Oh, you'll know all right. Odd things, they say-even their looks-will let the secret out. Keep your eyes open. Bless me, what do they teach them at these schools." -The Professor” Like “None of the children knew who Aslan was any more than you do; but the moment the Beaver had spoken these words everyone felt quite different.

Perhaps it has sometimes happened to you in a dream that someone says something which you don't understand but in the dream it feels as if it had some enormous meaning--either a terrifying one which turns the whole dream into a nightmare or else a lovely meaning too lovely to put into words, which makes the dream so beautiful that you remember it all your life and are always wishing you could get into that dream again. It was like that now. At the name of Aslan each one of the children felt something jump in it's inside. Edmund felt a sensation of mysterious horror. Peter felt suddenly brave and adventurous. Susan felt as if some delicious smell or some delightful strain of music had just floated by her. And Lucy got the feeling you have when you wake up in the morning and realize that it is the beginning of the holidays or the beginning of Summer.” Like “And Peter became a tall and deep-chested man and a great warrior, and he was called King Peter the Magnificent. And Susan grew into a tall and gracious woman with black hair that fell almost to her feet and the kings of the countries beyond the sea began to send ambassadors asking for her hand in marriage. And she was called Queen Susan the Gentle.

Edmund was a graver and quieter man than Peter, and great in council and judgment. he was called King Edmund the Just. But as for Lucy, she was always gay and golden-haired, and all princes in those parts desired her to be their Queen, and her own people called her Queen Lucy the Valiant.” The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005) - Decent Films Decent Films The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005) B+ Note: This review refers to important, even climactic plot points in The Lion, the Witch and the Wardrobe, both as regards Lewis’s original story and Adamson’s film. SDG One of the most magical effects in Andrew Adamson’s The Lion, the Witch and the Wardrobe isn’t rippling computer-generated fur, ice castles, or battle scenes. It’s the wide-eyed wonder and delight on the face of young Lucy Pevensie (Georgie Henley) as she passes beyond the wardrobe for the first time into the winter wonderland of the Narnian wood. Directed by Andrew Adamson.

Georgie Henley, Skandar Keynes, William Moseley, Anna Popplewell, Tilda Swinton, James McAvoy, Jim Broadbent. Voice of Aslan: Liam Neeson. Walden/Disney. Artistic/Entertainment Value PG Caveat Spectator Recurring fantasy action and violence and some menace to children, including a basically bloodless but intense battle sequence. About These Ratings Based on the beloved first volume of C. S. Lewis’s faith-inflected fairy-tale series The Chronicles of Narnia, The Lion, the Witch and the Wardrobe tells the story of four children swept up into a war of good and evil in a magical fairy-land, with the great Lion Aslan (voiced by Liam Neeson) versus the evil White Witch (Tilda Swinton), whose magic holds Narnia in the thrall of a hundred-year winter and whose house is full of stone statues that were once her enemies. The arrival of LWW on the big screen is a cultural milestone of sorts, in some ways a crossroads of The Lord of the Rings , Harry Potter , and The Passion of the Christ .

As a tale of a war of good versus evil in a fantasy land with mythic creatures, LWW recalls Peter Jackson’s The Lord of the Rings films, minus the obligatory large-scale story compression and PG-13 battlefield mayhem. As an ensemble story of 20th-century British schoolchildren caught up in a world of magic and danger, it evokes the Harry Potter stories, though without the moral debates about witchcraft and rule-breaking and the like. And with its central motif of a divine being who faces down a chilling icon of evil and brings salvation by laying down his life before triumphing over death and evil, it recalls The Passion of the Christ, but without the troubling arguments about antisemitism or the almost unbearable brutality. At the same time, Adamson’s film — the director’s first solo effort and first live-action film (Adamson’s only prior credits are co-directing Shrek and Shrek 2 ) — is neither as daring nor as visionary as Jackson’s or Gibson’s films. Nor is the screenplay, by Adamson and three credited co-writers (none with any notable credits), as faithful to the source material as the Harry Potter films (at least before the books broke 500 pages).

Nevertheless, the film brings Lewis’s story to life with sufficient fidelity and movie magic to make it one of the best and brightest family films in some time. Take the interactions of Lucy and Tumnus the faun (James McAvoy), and of Swinton’s White Witch and Lucy’s older brother Edmund (Skandar Keynes). Either scene is fraught with danger: The prospect of a little girl meeting a strange male in the woods at night and going home with him could easily take on creepy overtones, while the White Witch, though she must be creepy, must not be so repellent that any child would only shrink in terror from her, since Edmund must be at least somewhat able to endure her. Happily, the actors are more than up to the challenge. McAvoy brings just the right naivete and otherworldliness needed to put viewers at ease with his spontaneous friendship with Lucy, while Swinton’s disconcertingly aloof White Witch is at once chilling and strangely compelling. The atmosphere of these scenes, if not always the dialogue, is nearly perfect. Aslan himself is another triumph.

An astounding digital creation, he doesn’t exactly look like a real lion — he’s somehow too perfect for that — yet he doesn’t look like a hokey special effect either. He’s more like the quintessence of lion-ness than an ordinary lion, which is perhaps exactly right. As the voice of Aslan, Neeson hasn’t got the growly basso profundo I’ve always imagined (and tried to emulate for my children reading the books aloud), but he actually fits the bill surprisingly well, with just a hint of digital tweaking. Listening to him, it occurs to me that I might be able to accept Neeson as the voice of Jesus in an animated life-of-Christ film (like Ralph Fiennes in The Miracle Maker ); and Aslan, of course, is Jesus’ Narnian alter ego. The film follows the basic plot and structure of the book, and its most important themes — guilt and expiation, sacrifice and redemption, death and resurrection, the triumph of good over evil — are preserved. Yet widespread reports of the film’s “slavish” or “religious” fidelity to the book are just flat wrong.

This is perhaps somewhat surprising, because education-oriented Walden Media has a track record of ultra-faithful adaptations, from Holes to Because of Winn-Dixie . Yet the facts speak for themselves, and the truth is that the filmmakers have taken significant liberties — some good, some bad, some indifferent. Change in itself isn’t necessarily a bad thing; some of the film’s departures from the book honor or even enhance the story while adapting it to the needs of the screen. Some of the filmmakers’ better ideas include an unexpected glimpse of Aslan’s power in an early scene which provides a moment of grace for Lucy (and Tumnus), additional insight into why Edmund tells a particular lie in a way that makes perfect emotional and narrative sense, and a twist on a case of briefly mistaken identity which is merely suspenseful in the book but exciting in the film. Purists will object to a number of added action scenes where Lewis had only an uneventful forced march, though in themselves these don’t harm the essence of the story. On the whole, though, the filmmakers are safest sticking close to Lewis’s story, and tend to go awry when they depart from it, which they do more often and more seriously than they should.

Take the depiction of Peter Pevensie, the eldest sibling, whom Lewis depicts as a natural leader who intuitively grasps the obligations the siblings have to Tumnus and to Narnia. In the film, Peter becomes a reluctant participant who is always trying to back out of Narnian affairs and get his siblings safely back to England. It’s the Aragorn Complex; the only good leader, Hollywood is sure, is a reluctant leader (cf. also Moses in The Prince of Egypt ). Even in the climactic battle, as Aslan’s army clash with the forces of the Witch, Peter continues to be preoccupied with getting Edmund and the girls to abandon the conflict and return home to England. This characterization makes no sense, dramatically or thematically. It makes no sense thematically because by now it’s been well established that the defeat of the Witch and the triumph of good requires all four children — two Sons of Adam and two Daughters of Eve — to be enthroned at Cair Paravel. If three of them go home prematurely, the prophecy won’t be fulfilled. The filmmakers seem not to notice this conflict; even Mr.

Beaver seems ready to go along with Peter’s plan to divide the children, even though he’s the one who taught them the prophecy. Peter’s diffidence makes even less dramatic sense because he’s supposed to be the leader — Aslan himself has said so — and certainly by the end of the story, if not sooner, any leader worth his salt should be leading his followers in the right direction. If the filmmakers had wanted to show Peter growing into leadership, a natural turning point would have been the scene in which Aslan knights him after he kills the wolf. Yet they miss even this opportunity, depicting Peter continuing to “lead” in the wrong direction right up to the climax. Other changes are even more ill-advised, and sap Lewis’s story of much of its underlying meaning and thematic richness. Most seriously, Aslan, the great and terrible Lion, is robbed of much of his awe-inspiring majesty — not by inherent limitations in translating the story to the screen, but by specific alterations in the screenplay that consistently eliminate references to Aslan’s power and his effect on others.

No longer do the children and the Beavers speak tremulously at the Beaver lodge about how intimidating it will be to meet a Lion, or hang back at Aslan’s camp before approaching him, nudging one another and trying not to be the first to step forward. No longer does Mr. Beaver utter what is arguably the single greatest, most resonant line in the entire book: “Safe? Who said anything about safe? ’Course he isn’t safe. But he’s good. He’s the king, I tell you.” (The “But he’s good” bit is revisited at the end in connection with Tumnus’s line about Aslan not being “like a tame lion,” but the crucial notion of Aslan not being “safe” has been jettisoned.) No longer does the Witch find the mere mention of Aslan’s name unendurable and threaten to kill anyone who uses it. Nor do Aslan’s enemies repeatedly balk in terror before venturing to bind, muzzle and shave him at the Stone Table. The screenplay systematically elevates the role of the children and the Witch herself at Aslan’s expense.

In the book, when Father Christmas arrived, he said, “She has kept me out for a long time, but I have got in at last. Aslan is on the move. The Witch’s magic is weakening.” In the film, a curiously un-festive, brown-clad Father Christmas (James Cosmo) offers a contrary explanation, attributing his arrival to the Pevensies rather than to Aslan: “The hope brought by Your Majesties is starting to weaken the Witch’s power.” Perhaps the single gravest change to the story is one that greatly empowers the Witch at Aslan’s expense. It is simply the eradication of the whole motif of the Witch’s overt fear of Aslan. This is absolutely crucial to the book’s emphasis on the utter lack of parity between the omnipotent Aslan and the powerful but limited Witch. The whole vision of good and evil at work in the story turns on the fact that the Witch is never even close to being a rival or threat to Aslan, any more than Lucifer to Christ himself.

The filmmakers, perhaps motivated by a misguided dramatic notion of needing the villain to be a credible threat to the hero, eliminate practically every indication of the Witch’s fear of Aslan from the story — in the process jettisoning much of the point Lewis was making about the nature and relationship of good and evil. Not that Lewis’s point is lost entirely. By the end, certainly, it’s unambiguously clear that Aslan’s power and understanding are far beyond the Witch’s. Lewis’s point is thus ultimately affirmed, though it isn’t clear throughout the story as Lewis intended it to be. The problem of the apparent parity of Aslan and the Witch is nowhere more glaring than in the parley or summit meeting, which the film begins and ends very differently from the book. In the book, Lewis makes a point of having the Witch send her Dwarf to beg safe conduct from Aslan before she will dare to approach him. In the film, by contrast, we’re told that the Witch has “demanded” an audience with Aslan, with no mention of safe conduct requested or granted.

In fact, the film depicts her fearlessly entering Aslan’s camp on a royal litter with her dwarf acting as herald proclaiming her arrival, rather than as emissary begging safe conduct. The end of the parley scene, a highlight of the book, is even more glaringly changed. In the book, when the Witch expresses doubt whether Aslan will keep his word, he lets out a terrible roar, striking the Witch’s dumb with terror and causing her to flee abjectly for her life. In the film, since the Witch has come in a litter, she can’t very well pick up her skirts and head for the hills, as Lewis had it; instead, she merely looks a bit shaken and sits down kind of hard before being carried off. Lame. Even during the parley, the film subtly undermines Aslan’s control of the situation. In the book, when the Witch brings up the Deep Magic, Aslan remains supremely calm, even toying with the Witch (“Let us say I have forgotten it. Tell us of this Deep Magic”), causing her to begin shrieking angrily about the Stone Table, the sceptre of Aslan’s father, the Emperor-Beyond-the-Sea, and the World Ash Tree.

In the film, on the other hand, it’s Aslan who gets angry, snarling, “Don’t tell me about the Deep Magic! I was there when it was written!” This is an interesting line, but Aslan now seems merely indignantly assertive, rather than supremely in control. (In interviews, Tilda Swinton has spoken of not wanting to portray the Witch getting angry and “hot under the collar,” which she felt would only diminish her character. Ironically, no one seems to have noticed or cared that Aslan was diminished in precisely this way.) Visually, Adamson has obviously been influenced by Jackson’s trend-setting work in LOTR. As a storyteller, though, Adamson lacks the poetic and dramatic sensibilities that made Jackson’s films so effective. The visual and emotional impact of some of the most important sequences, which a more gifted or experienced storyteller would have played for maximum impact, has been muted or lost. Take the transition from the Witch’s winter to Aslan’s spring, a major motif in the book.

It wouldn’t be going too far to say that the changing of the seasons — a process of profound mythological significance — is one of the central organizing principles of the book; that in a word LWW is precisely a Christian mythopoeia of the end of winter (representing the fallen state of the world) and the coming of spring (representing redemption and the new creation). Lewis devotes pages and pages to melting snow, running water, the appearance of various varieties of flowers, and so on. The film, however, has no time for all this, and gets it out of the way with an action scene, a few brief effects shots, and a quick transition. Or take Aslan’s agony-in-the-garden via-dolorosa walk to the Stone Table. In the book, the omnipotent Lion alarmingly stumbles, moans, and confesses to being sad and lonely, even asking Susan and Lucy to comfort him (as the angels did in Gethsemane) by placing their hands on his mane so he can feel them. A filmmaker like Peter Jackson would have zeroed in on the emotional impact of this scene like a heat-seeking missile.

Alas, here Aslan seems merely somber as he walks to the Stone Table; of the pathos and the passion of Lewis’s scene, there is no hint. Why? Having diminished Aslan in so many other ways, why cheat on the one scene in which Lewis actually allows him to be emotionally vulnerable? Perhaps most inexplicable is the film’s half-hearted approach to the reanimation of the enchanted statues in the Witch’s courtyard. So vividly does Lewis describe this scene that the last time I read the book to my kids, I actually had to interrupt the reading to take them outside and set fire to some crinkled-up newspaper to show them what it looked like (to see why, see this review of the 1988 BBC version of the story, which quotes the relevant passage). This is precisely the kind of scene for which God created special effects. One can hardly imagine a filmmaker coming across that scene and not yearning to linger over all those statues gradually coming to life. Why, then, does Adamson give us only one token onscreen reanimation, and consign the rest to off-camera action? What was he thinking? These aren’t the objections of a purist unwilling to accept departures from the text.

The problem is not the filmmakers’ depatures from the letter of the book, but their insensitivity to its spirit, not to mention the sometimes slapdash quality of their storytelling even on its own terms. I don’t mind early scenes establishing Lucy’s apprehension regarding the unseen Professor at whose country estate the children are staying. Yet, having established that dramatic tension, shouldn’t the film have somewhere to go with it? Didn’t anyone notice that it makes no sense to introduce the Professor by having Lucy actually cling to him for comfort during a quarrel with her siblings? All these missteps add up to the difference between what could easily have been one of the greatest family films of all time, and what is, instead, merely a good one. Though the film misses greatness, even in this diminished form Lewis’s story is still well worth seeing, and the film adds enough to the experience to keep things fresh. All four Pevensies are ideally cast. Henley particularly shines as Lucy, but Keynes makes Edmund human without undercutting his nasty streak. William Moseley’s Peter manages to project compassion for Edmund even as he scolds him, and Anna Popplewell’s Susan is self-possessed and cool-headed.

Like Peter Jackson’s Middle-earth, Adamson’s Narnia has been scouted or created in New Zealand, yet the Narnian forests and plains feel more intimate and less expansive than Jackson’s immense vistas and endless mountain ranges. (At times Narnia actually seems a bit too cozy; the Witch’s house seems just around the corner from the Beaver lodge, so we miss out on Edmund’s miserable trek in the snow.) Though the child-empowerment theme has its drawbacks, it offers some creative bits as well. I particularly like a clever line from a fox (Rupert Everett) who is part of the Narnian resistance. And for all the downplaying of the religious themes, at least one touch, a strategically deployed echo of the sixth of Christ’s seven words from the cross, suggests a deliberate nod to the story’s redemptive meaning. For family audiences, LWW is a minor treasure in a holiday season — sorry, a Christmas season! — with few alternatives beyond tired family-sitcom remakes (Yours, Mine and Ours; Cheaper by the Dozen 2).

Particularly for those who’ve never read the books, or who remember them only dimly, the taste of Lewis’s story and themes afforded by the film may well be a revelation, and they may wish to seek out the books after seeing the film. Viewers who know the books, too, will return to them after seeing the film, grateful to the film for what it adds to them, and to the books for what the film leaves out. Tags: The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error The Chronicles of Narnia: The Lion, the Witch and the Wardrobe ( 2005 ) PG | Four kids travel through a wardrobe to the land of Narnia and learn of their destiny to free it with the guidance of a mystical lion.

Director: From $2.99 (SD) on Amazon Video ON DISC a list of 37 titles created 13 Apr 2011 a list of 31 titles created 25 Jul 2012 a list of 32 titles created 28 Feb 2013 a list of 35 titles created 23 Oct 2013 a list of 21 titles created 21 Dec 2015 Title: The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005) 6.9/10 Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Won 1 Oscar. Another 14 wins & 44 nominations. See more awards » Videos The Pevensie siblings return to Narnia, where they are enlisted to once again help ward off an evil king and restore the rightful heir to the land's throne, Prince Caspian.

Director: Andrew Adamson 1 2 3 4 5 6 7 8 9 10 6.3/10 X Lucy and Edmund Pevensie return to Narnia with their cousin Eustace where they meet up with Prince Caspian for a trip across the sea aboard the royal ship The Dawn Treader. Along the way they encounter dragons, dwarves, merfolk, and a band of lost warriors before reaching the edge of the world. Director: Michael Apted A young boy wins a tour through the most magnificent chocolate factory in the world, led by the world's most unusual candy maker. Director: Tim Burton A newly recruited night security guard at the Museum of Natural History discovers that an ancient curse causes the animals and exhibits on display to come to life and wreak havoc. Director: Shawn Levy As Harry Potter begins his sixth year at Hogwarts, he discovers an old book marked as "the property of the Half-Blood Prince" and begins to learn more about Lord Voldemort's dark past. Director: David Yates As Harry races against time and evil to destroy the Horcruxes, he uncovers the existence of three most powerful objects in the wizarding world: the Deathly Hallows.

Director: David Yates With their warning about Lord Voldemort's return scoffed at, Harry and Dumbledore are targeted by the Wizard authorities as an authoritarian bureaucrat slowly seizes power at Hogwarts. Director: David Yates It's Harry's third year at Hogwarts; not only does he have a new "Defense Against the Dark Arts" teacher, but there is also trouble brewing. Convicted murderer Sirius Black has escaped the Wizards' Prison and is coming after Harry. Director: Alfonso Cuarón Harry finds himself mysteriously selected as an under-aged competitor in a dangerous tournament between three schools of magic. Director: Mike Newell Harry ignores warnings not to return to Hogwarts, only to find the school plagued by a series of mysterious attacks and a strange voice haunting him. Director: Chris Columbus Rescued from the outrageous neglect of his aunt and uncle, a young boy with a great destiny proves his worth while attending Hogwarts School of Witchcraft and Wizardry. Director: Chris Columbus After his swamp is filled with magical creatures, Shrek agrees to rescue Princess Fiona for a villainous lord in order to get his land back.

Directors: Andrew Adamson, Vicky Jenson Stars: Mike Myers, Eddie Murphy, Cameron Diaz Edit Storyline Four children from the same family have to leave their town because of the bombings of WWII. A women and a professor take the children to their house. While playing a game of hide-and-seek, the youngest member of the family, Lucy, finds a wardrobe to hide in. She travels back and back into the wardrobe and finds a place named Narnia. After going in twice, the four children go in together for the last time. They battle wolves, meet talking animals, encounter an evil white witch and meet a magnificent lion named Aslan. Will this be the end of their journey to Narnia or will they stay? Written by John ewart There are many stories of Narnia. The first is about to be told.

See more » Genres: Rated PG for battle sequences and frightening moments | See all certifications » Parents Guide: 9 December 2005 (USA) See more » Also Known As: Las crónicas de Narnia - El león, la bruja y el ropero See more » Filming Locations: £8,884,111 (UK) (9 December 2005) Gross: Did You Know? Trivia The inscription on the blade of Peter's sword reads, "When Aslan shakes his mane, Narnia shall know spring again." See more » Goofs When entering the camp there are two long shots of the three, in the first shot Susan has knee socks on, in the second of the shots it looks as if she had no knee socks. See more » Quotes Mrs. Pevensie : Edmund! Get away from there! Peter!

[to Edmund] See more » Crazy Credits In the opening credits the Title "The Lion, the Witch, and Wardrobe" comes down as snow after we see "The Chronicles of Narnia" See more » Connections a must see for all ages 4 December 2005 | by Grant (United States) – See all my reviews I was fortunate enough to attend an advanced screening and was magnificently surprised. The film was beautifully made. The acting/voices were all wonderful, including the young talent. I think all ages will be entertained. The story contains important lessons for children, but also relevant reminders for adults. I also think attempts to compare the film to Lord of the Rings and/or Harry Potter would be unfortunate for all parties. They are each uniquely wonderful. Make sure you see this! By the way, make sure you stay through the end credits to hear a beautiful song Alanis Morisette wrote especially for the film. 221 of 361 people found this review helpful. Was this review helpful to you?

Yes 16 Facts About 'The Lion, the Witch and the Wardrobe' | Mental Floss 16 Facts About 'The Lion, the Witch and the Wardrobe' darchwonders In the 1940s, Oxford University professor C.S. Lewis struggled and fought to complete The Lion, the Witch and the Wardrobe. Little did he know that his novel would become a best seller, lead to six sequels, and still be widely read decades later. Here are some things you may not know about this long-lived children’s classic. 1. The story was inspired by an image of a faun. From age 16 onward, Lewis often found himself imagining “a Faun carrying an umbrella and parcels in a snowy wood.” According to his short essay It All Began With A Picture [ PDF ], the image continued to come to him until, at age 40, he said to himself, “Let's try to make a story about it.” 2. The book was also inspired by three girls who lived with Lewis during World War II.

In 1939, three girls, Margaret, Mary, and Katherine, were evacuated from London because of anticipated bombings and sent to live with Lewis in the countryside for a short time. This situation seems to be the inspiration for the four children—Susan, Peter, Edmund, and Lucy—being sent to live with the old Professor in the book. 3. The Lion, the Witch and the Wardrobe took 10 years to write. Lewis started in 1939 and finished in 1949. The novel was published in 1950. 4. The story was floundering until Lewis invented Aslan the lion. Wikimedia Commons Lewis wasn’t sure what to do with the book until “Aslan came bounding into it.” He’d been having dreams of lions, and found that putting Aslan in “pulled the whole story together, and soon He pulled the six other Narnian stories in after Him.” Incidentally, Aslan means "lion" in Turkish. 5. Lewis and J.R.R. Tolkien were in a writing group called The Inklings.

While both writers were working on fantasy novels—Lewis on Narnia and Tolkien on The Lord of the Rings—they met every Monday morning to talk about writing. Others started to join them, and soon the group swelled to 19 men, so they started meeting on Thursday evenings to share and discuss their work. 6. Lewis destroyed the first version of the book because his friends didn’t like it. Before 1947, Lewis wrote a draft of The Lion, the Witch, and the Wardrobe with four children named Ann, Martin, Rose, and Peter. The reaction of his friends to the story was discouraging, to say the least. He said in a letter, “It was, by the unanimous verdict of my friends, so bad that I destroyed it.” 7. Lucy is a real person. owenbarfield.org Lucy is based on Lucy Barfield, Lewis’s goddaughter, and the daughter of Owen Barfield. She was 4 years old when he started the book and 14 when he finished it. In the dedication to Lucy, he said, “Someday you will be old enough to start reading fairy tales again.

You can then take it down from some upper shelf, dust it, and tell me what you think of it.” 8. The Lion, the Witch and the Wardrobe is a “magical doorway” story. As the term suggests, this is a story where a door or other opening allows a character to leave the real world and enter a magical world. Other magical doorways include the rabbit hole that Alice falls down in Alice's Adventures in Wonderland and Platform 9 3/4 in the Harry Potter series. 9. The book is also a Christian allegory—or is it? The Christian themes in the story are overt. Aslan, as a stand-in for Christ, allows himself to be sacrificed by the evil White Witch and is then resurrected, which brings salvation to Narnia. This follows Christ’s death on the cross and his resurrection three days later. But in a 1962 letter, Lewis said the book was not an allegory so much as a “supposal,” as in: “Suppose there were a Narnian world and it, like ours, needed redemption. What kind of incarnation and Passion might Christ be supposed to undergo there?” 10. Lewis jumbled all kinds of mythology into the book.

Narnia draws on Greek, Roman, and Norse mythology, Irish and British fairy tales, Germanic folklore, and Arthurian romance, just to name a few. Even Santa Claus makes an appearance. 11. The White Witch is based on The Snow Queen by Hans Christian Andersen. Wikimedia Commons Like the Snow Queen, the White Witch is a tall woman dressed in white who is capable of freezing people—the Snow Queen turns their hearts to ice and the White Witch turns people to stone. Both women bring a boy onto a sled and destroy him emotionally through evil magic. 12. The Lion, the Witch, and the Wardrobe is chronologically the second book in the Narnia series. While The Lion, the Witch, and the Wardrobe was written first, The Magician’s Nephew is chronologically where the story starts. Many people read The Magician’s Nephew first so they can go from the earliest to the latest point in the series. 13. Professor Kirke was based on Lewis’s high school tutor. The Professor, whose name is Digory Kirke, is based on William T. Kirkpatrick, who tutored Lewis when he was a teenager.

Along with appearing in the first book, the Professor is the protagonist of The Magician’s Nephew and also appears in The Last Battle. 14. Tolkien didn’t like The Lion, the Witch, and the Wardrobe. In 1949, Lewis read a completed manuscript of the book to Tolkien and was surprised by his negative reaction. There’s much speculation as to why he disliked the book so much. Some say it’s because Tolkien didn’t like how Lewis mixed different mythologies together. Another theory is that Tolkien was threatened by the speed with which Lewis assembled his world, when Tolkien was so meticulous in his invention of Middle-earth. The truth is, we may never know the details. Tolkien said in a letter: "It is sad that 'Narnia' and all that part of C.S.L.'s work should remain outside the range of my sympathy, as much of my work was outside his.” Which tells us almost nothing. 15. It's one of the best-selling books of all time. It’s difficult to rank all-time best-selling books, but when people try, The Lion, the Witch and the Wardrobe is usually on the list.

For example, it’s number 6 on this list, number 9 on this list, and number 17 on this list. In any case, The Lion, the Witch and the Wardrobe is ridiculously successful. It has been translated to 47 languages and adapted for TV, stage, radio, and the silver screen. In 2005, it was made into a big-budget movie starring Tilda Swinton and James McAvoy. 16. Turkish delight is real candy you can make yourself. iStock The White Witch gives Edmund magical Turkish delight that he can’t stop eating. “Each piece was sweet and light to the very center and Edmund had never tasted anything more delicious.” You can whip up a batch yourself (minus the magic, of course) with the recipe here. 1000+ images about The Lion, the Witch and the Wardrobe on Pinterest | The witch, The lion and Narnia Learn more at etsy.com Sound of His Roar Narnia Print, Aslan CS Lewis Quote, Lion Roar, Narnia Art, Motivational, Inspirational, Christian Art, Nursery Art ...When he bares his teeth, winter meets it's death.

And when he shakes his mane, we shall have spring again. More

Question: """The Lion, The Witch and the Wardrobe"", a 2005 film based on the novel by C. S. Lewis, is set mainly in which land?"
Answer: Narnia