Although Neeson has perfect diction, he lacks the "booming" quality that would have leant the lion's voice added authority. Also, I have to question the decision to use Liam Neeson's voice. To me, it looked like the computer animators couldn't quite get it right. If one wishes to view Aslan as "more" than a big cat, then one could consider the "unrealness" to be an asset. The most persistent of these is the look of Aslan, who never appears real. Little glitches in the special effects can be seen from time-to-time. The film, despite having come out of the same New Zealand workshop that did such an excellent job bringing The Lord of the Rings to life, lacks the same degree of technical polish. Their primary helpers are a pair of beavers, who are taking them to meet Aslan (voice of Liam Neeson), the leonine messiah of the land. Lucy, Peter, and Susan must seek to rescue him and save Narnia. Edmund, seduced by the White Witch's promises of candy, betrays his siblings only to be imprisoned. Lucy returns to her own world, but later comes back to Narnia, this time in the company of her brothers and sister. Tumnus (James McAvoy), and learns that this world is trapped in a 100-year winter ("Always winter, never Christmas") because of the rule of the White Witch (Tilda Swinton). Exploring its contents, she finds herself transported to the magical world of Narnia. While playing hide and seek, Lucy discovers a mysterious wardrobe. It is faithful to the author's vision, and that represents both a strength (for those who have appropriate expectations) and a weakness (for those who are anticipating something more in line with The Lord of the Rings - as hinted at by the commercials).ĭuring the height of World War II, the four Pevensie children - Peter (William Moseley), Susan (Anna Popplewell), Edmund (Skandar Keynes), and Lucy (Georgie Henley) - are evacuated from London and sent to stay in the house of the enigmatic Professor Kirke (Jim Broadbent).
Lewis' book was a short, clear-cut fairy tale aimed at children. The conflict of armies is sketched rather than developed, and many of the themes are presented in easily digestible chunks. Both sagas are fantasies, and both feature dramatic battle scenes, but The Lion, the Witch and the Wardrobe is sanitized. Those expecting the epic scope and depth of The Lord of the Rings will be disappointed. The film is geared primarily toward a younger audience and parents who want to have something to see with their brood. There is a tendency to say that this The Lion, the Witch and the Wardrobe is redundant.
The only new things that Andrew Adamson's adaptation brings to the table are better production values and more impressive special effects.
CHRONICLES OF NARNIA 1 MOVIE TV
There was also a 1979 animated edition, and a three-hour interpretation made for British TV in 1988. The second, a 10-part TV series, was produced a few years after his death. The first version was a radio play done while C.S.
This marks the fifth time that The Lion, the Witch and the Wardrobe has been adapted, but the first time it has been accomplished as a major motion picture.
CHRONICLES OF NARNIA 1 MOVIE MOVIE
If the movie scores big with audiences, we will likely be watching Prince Caspian in another two or three years. Lewis' Chronicles of Narnia books, but whether the other six (or, more likely, five - since The Horse and His Boy seems an unlikely choice to film) make it to the screen will depend heavily on how much money The Lion, the Witch and the Wardrobe earns. Walden Media has optioned all seven of C.S. As the bean counters toil, Eustace waits.
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