While
C.S. Lewis’s book works as a solid basis for an action-adventure, to script it out literally (given its storytelling structure and brief action scenes) would not translate well to the language of film. Adamson and the other writers recognize this by weaving the book’s first two separate acts seamlessly together. The script’s extra-canonical liberties (magnifying the presence of Lord Miraz, staging battles that aren’t even referenced in the book, etc.) all fit squarely into the spirit and tone of the novel rather than feeling like an opportunistic distortion of it.
The same can be said of the characters. When we first see Peter in London, he’s in the middle of a physical fight with a fellow student. Though not in the book, this one moment instantly establishes Peter’s warrior nature more distinctly than any scene from the first film. There is added depth as Peter’s courage is textured with arrogance, giving his character (and all the relationships) an edge that ultimately must be humbled.
Similar gravitas is brought to the other characters—heroes, villains, and comic-relief alike (Reepicheep and his rodent platoon are brilliantly conceived)—at such a level that not only do themes resonate more profoundly, but emotions are felt more deeply. And Aslan, along with his challenging wisdom and air of mystery, is finally depicted in a way that creates legitimate chills.
Early on, the dwarf Trumpkin tells the Pevensies that Narnia may be more savage than they remember it. The same could be said to the viewers of the first film; here the tone is darker, the action more intense, and the substance more demanding. Where
Wardrobe pulled punches,
Prince Caspian packs, throws and delivers them.
“
Lord of the Rings-lite” was a fair characterization of the first Narnia film and the same applies here, but the difference is that before it was a criticism and now it’s a compliment. To put it simply, though one viewing of
The Lion, The Witch and the Wardrobe is enough, I can’t wait to see
Prince Caspian again.
CAUTIONS:
- Drugs/Alcohol: None.
- Language/Profanity: None.
- Sexual Content/Nudity: Innocent romantic chemistry between Prince Caspian and Susan. One brief kiss.
- Violence/Other: Medieval combat violence (swordplay, kills, etc.) with visual allusions to decapitations (but doesn’t actually visualize it), all set in a fantasy world.
Jeffrey Huston is a film director, writer and producer at Steelehouse Productions in Tulsa, Okla. He is also cohost of the "Steelehouse Podcast,” along with Steelehouse Executive Creative Mark Steele, where each week they discuss God in pop culture. To listen to the weekly podcast, please visit www.steelehouse.com or click here. You can also subscribe to the "Steelehouse Podcast” through iTunes.