GroshLink

On Tuesday, I treated Theresa to her birthday present of a mid-day showing of Prince Caspian and a run to Dairy Queen.  She loved the time out of the house.

With regard to Prince Caspian, I am reminded of my conversation with David C. Downing regarding The Lion, the Witch and the Wardrobe in which he noted some of the differences between the book and film as a medium for communication.  As such, I must qualify my comments by stating up front that I'm bookish, enjoying the conversations between characters, the traditional storyline, and the large swaths of material many times left to the imagination (e.g., battle scenes, attire, background).  As Steve Nichols pointed out to me at lunch yesterday, I'm a literalist ;-) Secondly, I confess that I'm not drawn to what's appears necessary to sell a film today, i.e., violence in military conflict and romance.

With that up-front, let's start with the positives:

1.  Lucy was the film with Trumpkin playing off of her.  Without these top performances, I might have dispared.  I loved Lucy's longing for true direction focused upon Aslan.  In addition, her expression and attire were wonderful.  The Dear Little Friend (D.L.F.) caused me some of the greatest laughes I've had in quite awhile. 

2.  The Telmarine culture of intrigue and war was well done.  Hard to top, well excuted again and again.

3.  The footage of a crumbling Cair Paravel with ocean in the background, a walk-about in the forest, and mountain ranges was astounding, leaves one with the sense of wonder which I believe Lewis would have desired.  A sense of wonder which one is to take back to every day life, even an empty, sleepy, country station.

Negatives

1.  It was an empty, sleepy, country station and there was hardly anyone on the platform except for themselves. ... that is where the book begins and ends.  For the most part I'm ok with placing the story in chronological order (with the assumption that Narnia is a real parallel world and the kids aren't making up another adventure as they depart for school) thereby decreasing the use of flashbacks for storytelling, but the lonely country station is a far cry from Susan fighting off romantic advances and Peter being rescued from a brawl by Edmund before they all must squeeze onto a train in a crowded, urban subway station.  The new beginning for the four Pevensie children takes away the quiet drift into fantasy and return to a wonder-filled real world (only really found in a brief dream), the respect for Peter (not won back until near the end through battle for sake of Aslan and Narnia), and the romantic naivete of Susan (not regained in the end, thankfully only one extended kiss with Caspian added by the director before returning the wanting boy at the crowded subway station).  Note:  I loved the touch of loosing the new torch in Narnia, even though it was a vital part of the attack upon Miraz' castle.

2.  Aslan, as many of the creatures/gods (e.g., Bugly Bears, Patterwig, Wimbleweather the Giant, Bacchus) besides Reepicheep, appears as a minor character, remember every year you grow, you find me bigger?  Or did I get my words mixed up?  And didn't we have a slow return to belief and royalty en route to meeting Prince Caspian instead of after trying to take King Miraz's castle (where did this addition come from)?  Wasn't there a dramatic encounter in which Aslan was shown not to be safe when he does much more than roar at Trumpkin? 

I'm not going to whine about the change in the bridge scene as the River God was quite impressive, but I would have liked to have Aslan's romp with Lucy & Susan through the Telmarine towns.  What editing of the book is necessary to fit in 145 minutes, even with pictures speaking 1000 words?  One has to choose one's priorities wisely.

3.  Violence in military conflict and the return of the White Witch (are we going to see her throughout the whole series as the opposing dark force to Aslan?)which makes the film even more difficult for me to introduce our children to than The Lion, the Witch and the Wardrobe.  What was up with all the crossbows and catapults?  Did I mention where in the world did the attack upon Miraz's castle come from and the need to have so many slaughtered in the courtyard with LOTR overtures?  Is this children's fantasy? 

Well that's all for now.  If I have time, I think I'll return to some of these thoughts later in the summer.  Does anyone else have first impressions (or more considered thoughts) regarding the film? 

Note: see Christianity Today's Review and the largely unfulfilled Caspian Wish List.