A lot has been said about how much darker Prince Caspian is over its predecessor (The Lion, The Witch, and The Wardrobe), and that it is. But what gets lost within this observation is how much more assured and polished this outing is as well. As if released from the burden of fitting this material for children, Andrew Adamson has crafted what is essentially a Jacobean fairy tale, managed with clever writing and a few lighthearted moments, and methodically punctuated with a marvelous climax.
The movie's tagline says, "Everything you know is about to change forever." And how Narnia has changed. The vibrancy from the previous film is absent through much of this one. The palace where Peter (William Moseley), Susan (Anna Popplewell), Edmund (Skandar Keynes), and Lucy Pevensie (Georgie Henley) were crowned kings and queens of Narnia is now in ruins. The forest, which was as much alive as its denizens, is silent. And its mythical creatures, along with Aslan, that wise deified lion central to C.S. Lewis's story, have all but disappeared.
The Pevensies discover that they've been been unknowingly summoned back by Prince Caspian (Ben Barnes), the ruling heir of humans who conquered Narnia in their absence, the Telmarines. Caspian is driven from his kingdom due to (what else?) politics. And in the process of doing so, discovers the Narnians, eventually pledging to return them to their rightful land with the help of Peter and company.
Fans will tell you that this all occurs a few centuries later within Narnia, so new characters have replaced the old. Gone are Mr. Tumnus and Mr. and Mrs. Beaver. In come the dwarves Trumpkin (Peter Dinklage) and Nikabrik (Warwick Davis), the badger Trufflehunter (Ken Stott), and a swashbuckling mouse Reepicheep (Eddie Izzard), whom Puss In Boots could probably sue.
For a film that has no hidden twists, no metaphors to current events, and a predictable plot, it's surprising how stirring it plays out. It isn't grimly serious, but neither is it laid back. It paces itself purposefully, not dwelling too long or racing too fast. Its dialogue isn't wrought with Shakespearean quality, but neither is it self-aware. The film's craftsmanship is, in short, professional.
A lot of things help the film move along. One of them is its fresh-faced heroes. The Pevensies are all relative unknowns, playing their parts competently and without affectation. Their untouched qualities allows us to focus in on their stories. Not much development is given to their characters this time around, as the films events take precedence. But as in the first film, Georgie Henley, as Lucy, shines. She still remains one of the most genuinely lovable young characters of recent memory.
Another aspect that makes the film standout is how exotic it feels. Most movies of this sort (e.g. The Harry Potter Films) exude an undeniable English atmosphere (they wrote this stuff), but with the decision to use Spanish actors to play the Telmarine heavies, the film distinguishes itself. There are at times when the movie echoes the mood of a Guillermo Del Toro's film (e.g. Pan's Labyrinth). This danger, played differently, becomes more pertinent and interesting, and is enhanced tenfold by the great Italian actor Sergio Castellitto, who plays Prince Caspian's machiavellian uncle King Miraz.
What catapults the film into almost masterful entertainment is its climactic buildup. Very few fantasy films (including The Lord Of The Rings Trilogy) are able to sustain a progressive rise in climactic anticipation such as Prince Caspian can. Though its scope might not be considered epic, it reveals its treats in an almost methodical manner, each better and more exciting than the last. The film's score, composed by Harry Gregson-Williams, outdoes itself, and should be considered come Oscar time.
The film's denouement is merely an exercise of going through the motions, but should not be taken against what the rest of the film achieves. The Lion, The Witch, and The Wardrobe caused some controversy as some secular groups accused it of having a religious agenda. I don't think there'll be the same ruckus over this film, as I couldn't detect any overt allegories being pushed (but people will believe what they want to believe). As for me, Prince Caspian works as marvelous entertainment, and an interesting look at how four (five if you count the Prince) plucky youths go through adventure, and learn how to deal with triumph and defeat.
Note: Though I give the movie, 3 and 1/2 stars, one issue preplexed me, and nearly prevented me from rating it as high. I'll discuss this later on.
The Pevensies discover that they've been been unknowingly summoned back by Prince Caspian (Ben Barnes), the ruling heir of humans who conquered Narnia in their absence, the Telmarines. Caspian is driven from his kingdom due to (what else?) politics. And in the process of doing so, discovers the Narnians, eventually pledging to return them to their rightful land with the help of Peter and company.
Fans will tell you that this all occurs a few centuries later within Narnia, so new characters have replaced the old. Gone are Mr. Tumnus and Mr. and Mrs. Beaver. In come the dwarves Trumpkin (Peter Dinklage) and Nikabrik (Warwick Davis), the badger Trufflehunter (Ken Stott), and a swashbuckling mouse Reepicheep (Eddie Izzard), whom Puss In Boots could probably sue.
For a film that has no hidden twists, no metaphors to current events, and a predictable plot, it's surprising how stirring it plays out. It isn't grimly serious, but neither is it laid back. It paces itself purposefully, not dwelling too long or racing too fast. Its dialogue isn't wrought with Shakespearean quality, but neither is it self-aware. The film's craftsmanship is, in short, professional.
A lot of things help the film move along. One of them is its fresh-faced heroes. The Pevensies are all relative unknowns, playing their parts competently and without affectation. Their untouched qualities allows us to focus in on their stories. Not much development is given to their characters this time around, as the films events take precedence. But as in the first film, Georgie Henley, as Lucy, shines. She still remains one of the most genuinely lovable young characters of recent memory.
Another aspect that makes the film standout is how exotic it feels. Most movies of this sort (e.g. The Harry Potter Films) exude an undeniable English atmosphere (they wrote this stuff), but with the decision to use Spanish actors to play the Telmarine heavies, the film distinguishes itself. There are at times when the movie echoes the mood of a Guillermo Del Toro's film (e.g. Pan's Labyrinth). This danger, played differently, becomes more pertinent and interesting, and is enhanced tenfold by the great Italian actor Sergio Castellitto, who plays Prince Caspian's machiavellian uncle King Miraz.
What catapults the film into almost masterful entertainment is its climactic buildup. Very few fantasy films (including The Lord Of The Rings Trilogy) are able to sustain a progressive rise in climactic anticipation such as Prince Caspian can. Though its scope might not be considered epic, it reveals its treats in an almost methodical manner, each better and more exciting than the last. The film's score, composed by Harry Gregson-Williams, outdoes itself, and should be considered come Oscar time.
The film's denouement is merely an exercise of going through the motions, but should not be taken against what the rest of the film achieves. The Lion, The Witch, and The Wardrobe caused some controversy as some secular groups accused it of having a religious agenda. I don't think there'll be the same ruckus over this film, as I couldn't detect any overt allegories being pushed (but people will believe what they want to believe). As for me, Prince Caspian works as marvelous entertainment, and an interesting look at how four (five if you count the Prince) plucky youths go through adventure, and learn how to deal with triumph and defeat.
Note: Though I give the movie, 3 and 1/2 stars, one issue preplexed me, and nearly prevented me from rating it as high. I'll discuss this later on.
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