Disney and Walden Media's "The Chronicles Narnia: The Lion, The Witch and the Wardrobe" has more punctuation in its title than most films these days. A brave move for a film that, unlike the title lion, Aslan, is more bark than bite. Or is it more roar than bite? This film is the most recent adaptation of the beloved C. S. Lewis novel, a story that's both an adaptation of the life and times of boxer Joe Louis and an allegory for Christianity.
Directed by Andrew Adamson, whose only other whacks at allegory include the two "Shrek" films, "Narnia" is the story of the four children of the Pevensie family. Sent by their parents to the quaint country refuge of Professor Kirke, the Pevensies leave a 1940s London threatened by the air raids of World War II, only to find themselves somehow in the middle of an entirely different war. This one, however, is not without centaurs, talking beavers and, of course, a prophecy. According to the prophecy, older siblings Lucy and Peter, dark and conniving Edmund and cute-as-a-button Lucy are destined to lead the magical land of Narnia to a new era, ending its hundred-year winter and defeating the evil White Witch, Jadis.
As the Pevensie kids make their way through the wardrobe and into their adventures in Narnia, they meet a slew of fantastic creatures, talking animals, ogres and Mr. Tumnus, the delightful half-deer/half-man. This adaptation, in terms of plot, is sure to please fans of the book, and even those who haven't been formally introduced to Mr. Lewis' work. After all, who can resist Turkish Delight?
Though "Narnia" isn't a great film, it has its strong points. For one thing, it has some invigorating talent. Georgie Henley is excellent as Lucy, whose youthful innocence shines through from the moment she hypnotically pushes through the fur coats of the wardrobe. Henley's Lucy, unlike the other Pevensies, is very believable in the role. Rather than seeming like a child playing a child, she simply is one. Tilda Swinton is also a pleasure to watch as the White Witch, stealing nearly every scene in which she appears; dreadlocks and ice never looked so good. There are even a few good cameos; Rupert Everett reprises his usual sly charm as the voice of the well-intentioned fox and Liam Neeson voices Aslan, the lion/general/representation of Jesus.
However, "The Chronicles of Narnia" remains an unconvincing epic. It seems that the filmmakers, so eager to jump on the fantasy/epic money train, failed to pick up any of their predecessors' tricks. There is no all-star cast (see "Lord of the Rings") and no driving mainstream following ("Harry Potter," anyone?). In what seems like a last ditch effort at diversion, "Narnia" goes heavy on the effects, but still comes up short. When will Hollywood learn that CGI just doesn't work in heavy doses? If it had been generated entirely by computer, as Adamson has shown he is accustomed to, this film might have worked. Instead the unavoidable contrast between CGI and live action serves as a veritable slap in the face to audience members.
The major fault of the film is that it's simply unmemorable. Nothing in particular stands out as unique or exciting. It's a sad fact to admit, but one can't help but compare it to the films that have come before it, namely "The Lord of the Rings" and those "Potter" movies. Whereas those films will likely be remembered as classics 20 years from now, "The Chronicles of Narnia" will only seem dated.
