The Chronicles of Narnia: Prince Caspian
The next instalment in Disney and Walden Media’s Narnia series, Prince Caspian, is darker and more mature than its forerunner. Based on the C.S. Lewis novel of the same name, this is an epic family fantasy complete with talking animals and broad battle sequences. Director Andrew Adamson is at the helm once again and seems to take pleasure in constructing a darker vision of the land of Narnia. The film feels grittier and dirtier, making it a more persuasive picture than Adamson’s The Lion, the Witch and the Wardrobe.
Lewis released Prince Caspian: The Return to Narnia for publication in 1951. It is the second book in the series in terms of publication, although chronologically it is the fourth entry. At its heart, Caspian is the sort of “Civil War story” of the Chronicles of Narnia. Lewis unfurls themes of gallantry and bravery, especially in the face of diversity. It is also a tale of great faith, as many characters question the need or sensibleness of believing in Aslan at all.
Adamson’s film picks up on those themes rather well. Prince Caspian opens 1,300 years after the Pevensie siblings left Narnia. We are introduced to a Telmarine prince, Caspian (Ben Barnes), as he faces grave danger from his Uncle Miraz (Sergio Castellitto). He flees to save his life, only to run into two dwarves and a talking badger. Trumpkin (Peter Dinklage), one of the dwarves, is captured and Caspian escapes with the badger and the other dwarf, Nikabrik (Warwick Davis).
The Pevensie children – Peter (William Moseley), Susan (Anna Popplewell), Edmund (Skandar Keynes), and Lucy (Georgie Henley) – arrive in Narnia after one year in their world and 1,300 years in Narnia. They discover Cair Paravel in ruins and learn of Miraz, Caspian, and the dark plot to divide Narnia from its history. The Pevensie children must defeat Miraz, the false king, and restore order to the land by giving Caspian the throne. Faith in Aslan plays a role as well, as Lucy seems to be the only character who still believes in his significance.
Adamson’s direction with the Narnia sequel is sharper and he appears to have more of a sense of storytelling. There are more effects shots, but he seems better equipped to use them efficiently. Nothing feels tacked on and the addition of bigger battle scenes actually fits the bill. Liberties are taken with Lewis’ story, of course, but in this case they add cinematic value. The attempted raid on Miraz’s castle, while not in the book, adds an element of richness and spirit to the film.
One of the more compelling aspects of Prince Caspian is the melding of various mythologies. Greco-Roman mythology meshes effortlessly with sorcery and all sorts of witchcraft to create a hybrid stew of characters. There are minotaurs, black and red dwarves, centaurs, griffins, satyrs, and other creatures. The creatures are given more mobility in the sequel, too, as Adamson seems more secure in allowing his characters progress and range.
Walden’s Narnia series isn’t without its problems, of course. Most of the difficulties with The Lion, the Witch and the Wardrobe are present with Prince Caspian. Perhaps the biggest hitch is a lack of rationalization as to why the Narnians need Aslan. As Roger Ebert asked in his review of Prince Caspian: “why can’t the Narnians just lead themselves?” And in essence, this is where the Narnia films come down to rather elementary items of faith and religion. We, as the audience, are told to “just believe in Aslan.” Hell, Lucy does. But the Narnians, Pevensies, et al. probably can lead themselves and can mete out their own will and take responsibility for their own actions. Where would that leave the likes of Aslan?
Prince Caspian isn’t about asking the big questions, though. It is, by and large, about the effects and the talking animals and the battle sequences. And in that case, this sequel is a colossal step in the right direction. It is an imposing spectacle, brimming with charmingly enjoyable characters and uncluttered effects. Adamson’s direction is more competent and fresh, too, and the picture is pleasant. Just try not to think too much.
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