To escape the german bombings during World War II, the four Pevensie children are sent away from London to the safety of a country mansion. During a game of hide and seek Peter, Susan, Edmund and Lucy discover a magical wardrobe that leads to the mysterious land of Narnia. Upon setting foot in the dazzling new world, they are thrust into the midst of an endless winter and a great struggle between the evil forces of the White Witch and the rebelling army of Aslan (the true king of Narnia).

Director Andrew Adamson (Shrek and Shrek 2) was arguably faced with the easier task of adapting a celebrated fantasy novel compared with his counterparts Peter Jackson (The Lord of the Rings) and the directors and screenwriters of the Harry Potter movies. CS Lewis’ The Chronicles of Narnia - The Lion, the Witch and the Wardrobe is just over a hundred pages long and never bothers with any detracting side plots that are usually prone to being left out of the movie adaptation. So it has come that Adamson was not only able to savour just about every detail from the source material, he’s also added a few more new scenes to either heighten the tension (the Pevensie children crossing the frozen river) or give the story more exposition (the movie opens with German war planes dropping bombs over London) and the characters more depth (Edmund is depicted as the younger brother who suffers greatly from their father being away in the war).

Quite generally, Adamson’s direction allows the characters much breathing space, the children feel more fleshed out than in the book (in spite of these slower scenes, the movie rarely drags, thanks to the plot being so straight-foward). There’s a subtle bit of foreshadowing in the scene at the train station (when the children leave for the country side), when Peter almost longingly looks at the soldiers going off to join the war. Quite impressively, the four young actors playing the Pevensies make very good use of their screen time. This applies especially to Skandar Keynes, who handles Edmund’s straying-off-the-path with much brooding and a dark undertone, and Georgie Henley, who’s Lucy (the youngest sibling) serves as the audience’s gateway into magical Narnia. The gleaming look in her eyes when she first sets sight upon the snow-clad land is so full of innocent honesty that the viewer feels instantly transported back into his own childhood, when every new discovery was still more wonderous than the last. Also of note is James McAvoy’s Mr. Tumnus, who lends just enough warmth and friendliness to a potentially creepy role (a grown man, or Faun in this case, inviting a little girl into his house for a cup of tea and biscuits).

This new fantasy franchise (at least that’s what Walden Media and Disney are hoping it will rise to) doesn’t rely on big names from the acting trade; Tilda Swinton’s and Liam Neeson’s would be the most prominent. Swinton is set the task of portraying the film’s antagonist: the White Witch Jadis, self-appointed ruler over Narnia. She shows off Jadis’ facettes, which range from deceptively enchanting to intimidatingly fear-inducing, just fine, but the character can’t truly stand among any of film’s greatest villains. Jadis is simply not iconic enough, but much rather resonates only a ‘wicked grandmother’ vibe (though her most evil deed, at the stone table, part primitive ritual, part gleeful slaughter and humiliation, is one of the film’s strongest moments). Jadis’ nemesis is the mighty lion Aslan, who’s set with the minor drawback that Liam Neeson’s voice stands out at all times (you may find yourself reminded of Neeson’s Qui-Gon Jinn from Star Wars Episode I, a similar mentor role). On the other hand, it’s undeniable that Neeson has the right amount of gracefulness and nobility in his voice that perfectly suits Aslan.

Effects-wise, Narnia has its ups and downs. Aslan looks magnificently rendered at times (the scene where Lucy and Susan grab hold on his golden fur), but completely rushed in other occassions, especially when landscape he’s set against is computer-generated aswell. The menacing wolves (who are rightfully frightening in a couple of instances) are very convincing however, as are Mr. and Mrs. Beaver, the first talking beasts introduced, and worth more than a few good laughs. Just wait until you see a Beaver in full battle armour! The scenery, both computer-generated and filmed on location in New Zealand, is quite beautiful to behold. Jadis’ castle is coldly eerie, whereas the camp of Aslan’s forces warm and inviting, full of rich colours and dazzling creatures.

The big battle at the end of the movie (no fantasy piece seems to come without) was only sketchily hinted at in the novel, but the film readily elaborates on it, and in a quite masterful way. It’s quite a spectacle when centaurs, satyrs and rhinos clash with minotaurs, giants and dwarves on an expansive plain. Apart from this scene though, the film never comes across as truly epic, lacking the grand and awe-inspiring scale of the Lord of the Rings films and the latest Harry Potter installment. Prince Caspian, the next Narnia book to be filmed (IF this first one is a success), could provide a chance to remedy that, but all in all, The Lion, the Witch and the Wardrobe has introduced movie-goers to a maybe not gritty, but certainly family friendly and intriguing new tale full of adventure and excitement. And for that, Adamson’s film deserves to be recognised.

Posted in Reviews •