Tough to discuss the latest instalment in the Chronicles of Narnia film series without looking at the difference between fantasy and reality as seen through the eyes of pesky newcomer Eustace (Will Poulter), the movie's principal saving grace. Eustace is a mischievous trouble maker whose perspective is governed by fact and he is none to happy with the fact that his cousins Lucy (Georgie Henley) and Edmund (Skander Keynes) are currently living with him. Alas, he is also none to happy when his factual world disappears altogether and he is transported to the realistically-fictional world of Narnia. Expressing his discontent in a number of flamboyant tantrums, Eustace must come to terms with the fantasy in which he has been cast in order to save what remains of his scientific marbles. Thankfully, as he seems reluctant to do so, he is transformed into a giant dragon after inappropriately handling a hidden deposit of gold. As he comes to terms with his scaly scorn, things take a turn for the better, and he is eventually instrumental in defeating the forces of evil.
Seems to me anyways, the dragon being a symbol of the unconscientious nouveau riche, if Eustace were to continue on his present concrete path within the real world, he would have become a miser, breathing impenetrable critical fire wherever he causticly tread. By embracing the fictional realm of Narnia, which realistically molds him in his traditional symbolism, he develops a generous spirit which becomes socially conscientious, like Mr. Scrooge, and begins to help everyone. Thus, we are provided with a basic differentiation between the aristocrat and the oligarch, the one who believes they have an obligation to nurture their community which involves listening to that community's input, and the one who believes they own the community and it should therefore bow down to his or her pressure. By recognizing the realistic beauty inherent in fiction, quests, adventures and what not, Eustace begins to qualify his reality with a wider array of fruitful principles, theoretical hypotheses being an intrepid scientific catalyst, progressive thinkers believing in universal healthcare materializing various tenants of several religious focal points, which, are unfortunately upheld by a King to whom everyone bows, and well, I'd rather not get into it.
It's the holiday season.
Showing posts with label The Chronicles of Narnia. Show all posts
Showing posts with label The Chronicles of Narnia. Show all posts
Sunday, December 12, 2010
Thursday, November 27, 2008
Prince Caspian
Tried hard to resist the temptation to see Andrew Adamson's second envisioning of C. S. Lewis's Chronicles of Narnia series, Prince Caspian, but buckled as soon as I saw that it was 3 hours long. Figured three hours of vegin' out while watching talking animals and trees battle imperialist dogs would be fun, more fun than staring at the wall wondering which book I should be reading. Note that the bear representation was not as strong as I was hoping, but there were two bears featured within the narrative and a chivalrous mouse named Reepicheep voiced by Eddie Izzard.
Prince Caspian struck me as the iconic 3 out of 5 stars film. It's nothing special, a lot of the acting is brutal, good enough to spout one-dimensional lines about leadership and victory, not too strong when it comes to dealing with the complex subtleties of historic emotion, although the plot proceeds too quickly to allow for such developments.
Yup, 3 out of 5. I didn't dislike it, I could watch it with my family, and if I was 10, I'd probably continue to think it's exceptional until I was at least 17. A lot of the scenes are ridiculous, some of them are kind of fun, and Anna Popplewell has a fletching beauty that causes one to quiver more and more intensely with every drawn arrow. On the ideological side, the story seems to be saying that talking animals and environmental activism are playthings for children, and that when one grows up, they will 'austerely' leave these subjects behind. And that British children are capable of leading a successful revolution against tyrannical monarchs but can only succeed with the help of a magical lion. It would be nice if an auteur would transform one of these legendary narratives into something bizzare, rather than sticking to the conventional plot designs. Return of the King directed by Guy Maddin. Now there's a best picture.
Prince Caspian struck me as the iconic 3 out of 5 stars film. It's nothing special, a lot of the acting is brutal, good enough to spout one-dimensional lines about leadership and victory, not too strong when it comes to dealing with the complex subtleties of historic emotion, although the plot proceeds too quickly to allow for such developments.
Yup, 3 out of 5. I didn't dislike it, I could watch it with my family, and if I was 10, I'd probably continue to think it's exceptional until I was at least 17. A lot of the scenes are ridiculous, some of them are kind of fun, and Anna Popplewell has a fletching beauty that causes one to quiver more and more intensely with every drawn arrow. On the ideological side, the story seems to be saying that talking animals and environmental activism are playthings for children, and that when one grows up, they will 'austerely' leave these subjects behind. And that British children are capable of leading a successful revolution against tyrannical monarchs but can only succeed with the help of a magical lion. It would be nice if an auteur would transform one of these legendary narratives into something bizzare, rather than sticking to the conventional plot designs. Return of the King directed by Guy Maddin. Now there's a best picture.
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