The Chronicles of Narnia: Prince Caspian (16 May 2008)
directed by Andrew Adamson
starring Ben Barnes, Georgie Henley, Skandar Keynes, William Moseley, Anna Popplewell, Sergio Castellitto, Peter Dinklage, Warwick Davis, Vincent Grass, Piefrancesco Favino, Cornell S. John, Damián Alcázar, Alicia Borrachero, Liam Neeson, Ken Stott, Harry Gregson-Williams, Sim Evan-Jones, David Walliams, Eddie Izzard, Tilda Swinton
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MPAA rating: Studio: Walt Disney Pictures, Walden Media, Ozumi Films, Silverbell Films, Stillking Films Script: Andrew Adamson, Christopher Markus, Stephen McFeely Based on the book by: C. S. Lewis Music: Harry Gregson-Williams Running time: 144 minutes Tags: Action; Adventure; allegory; battles; castles; centaurs; children; christianity; Drama; Fantasy; horses; lions; Narnia; novel adaptation; World War II Tactical strength: [7/10]
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for epic battle action and violence
Director Andrew Adamson again does an excellent job bringing the spare details of C. S. Lewis's Prince Caspian to epic proportions on the screen. The children, Peter (William Moseley), Susan (Anna Popplewell), Edmund (Skandar Keynes), and Lucy (Georgie Henley), have spent a year in London, and all but Lucy have given up hope of ever returning to Narnia. Conveniently, just as they discuss returning, a portal opens up and takes them back to Narnia, but a very different Narnia than the one over which they ruled as Kings and Queens. Thousands of years have passed since the children sat on their thrones. Their palace at Cair Paravel lies in ruins, and humans have forced all the magical creatures of Narnia into hiding.
In a separate series of scenes, we watch Prince Caspian X (Ben Barnes) flee from his palace after learning that his Uncle Miraz (Sergio Castellitto), protectorate of the human kingdom until Caspian comes of age, seeks to kill Caspian to ensure that Miraz and his newborn son will take over the throne. At the advice of Caspian's professor (Vincent Grass), Caspian flees into the woods, where he discovers the hidden society of the ancient Narnians. Caspian convinces the Narnians to assist him in attacking his Uncle with the promise that the Narnians can come out of hiding once Caspian gains the throne.
At this Point, the children, led by the dwarf Trumpkin (Peter Dinklage) whom the children saved from a death sentence, walk into Caspian's armed camp. The egos of the two kings, Peter and Caspian, immediately begin to clash. Caspian wants to attack Miraz's army directly, but Peter wants to attack the mostly undefended palace instead. Because of Peter's status as High King of Narnia, the Narnian's agree to Peter's plan in spite of both Caspian and Susan's objections. The attack goes badly, and Peter loses many of the Narnian troops -- further aggravating the tension between Caspian and Peter.
An interesting transition takes place in Prince Caspian: We see the children -- even Lucy -- kill people. The killings all occurr either in self-defense or as part of a battle, but where The Lion, the Witch, and the Wardrobe did much to keep the children innocent from at least the appearance of shedding blood, Prince Caspian allows the characters to openly slash the throats or fill with arrows hundreds of people. So we have this interesting subtheme that espouses killing -- even by children -- for "noble" purposes.
The film follows a very Christian allegory. Aslan serves as a clear symbol of Christ. To succeed, the characters give up plans that serve to promote and elevate their own position among their peers and put faith in Aslan, even in the face of almost certain death. Whether or not you find the ending satisfying hangs on your acceptance that selflessness and faith lead to blessings from deity. In works of fantasy, I find it easy to accept the religious structure imposed by the author on his or her creation. But in this case, Lewis makes direct connections and references in Prince Caspian to the Christian parallels in our world, thus acceptance of the characters' success implies an acceptance of the role of Christian faith in human lives. This overt Christianity might make some non-Christian viewers uncomfortable.
The actors generally do an excellent job in their various roles. The script calls for quite a few "meaningful looks." Some work quite successfully. With just a slight tilt of his head, Edmund tells Lucy that he believes her about seeing Aslan but that they must follow Peter's lead. Other looks don't work as well. We get many close up shots of the lead centaur's face. Usually his looks provides a sense of his approval or disapproval toward Peter, but we see this face so often that it looses its effectiveness and starts to confuse the implications such shots should convey.
Adamson does an excellent job at creating mood within the film. As the children discover the ruins of their palace, you feel their uncertainty. At Peter's first battle and defeat, you get a good sense of the tension of battle and the remorse at losing comrades in arms. An if for nothing else, you should see the film for the amazing landscape shots of New Zeland and Poland -- scenes so beautiful and breathtaking that you want to go home and make travel arrangements.
Related Reviews
Prince Caspian written by C. S. Lewis
The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe directed by Andrew Adamson
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