The next installment 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.
![The Chronicles of Narnia: Prince Caspian (Three-Disc Collector's Edition+ Digital Copy and BD Live) [Blu-ray]](http://ecx.images-amazon.com/images/I/61xn7z%2BhaPL._SL120_.jpg)
Article comments
1 - Sachin
in this review,reviewer constantly asks why believe in ASLAN.
well if you have seen the film with attention then you will notice that without ASLAN PETER TRIED TO ATTACK THE CASTLE OF MIRAZ WITH MANY NARNIANS AND CASPIAN............
BUT WHAT HAPPENDED
HE FAILED.
2 - Jordan Richardson
I actually said that many of the characters have moved on from believing in Aslan. Lewis, in his story, illustrates that it is much to their peril. The Narnians, it seems, cannot win in battle without Aslan. Whether that is the result of poor planning or fighting without the Lion is made relatively clear, as the Narnians must have faith in Aslan in order to survive without constant danger.
Essentially, the characters exist to fulfill requirements and move on. There are prophecies to be fulfilled and the characters, all of which we assume have free will, simply move in and out of the picture (or the book) to do so. Characters have two options, usually: believe in Aslan or don't and perish or, as you say, fail. That notion is problematic, to me, and oversimplifies the faith conversation. And that, my caps-lock-loving friend, is why I asked those questions.
Essentially, we are constantly told throughout this films and the books that the Narnians need others to lead them and that the Narnians need faith in Aslan to guide them. Lest they fail. Either the Narnians need the Pevensie kids or Aslan or...who knows...
The point is that free will, responsibility, etc. all come with a sort of "theological rescue" sooner or later. And for that reason, I daresay that Narnia means very little outside of a theological model to demonstrate how much we need "God" and how little we ought to rely on ourselves.
3 - SACHIN
Narnia need Pevensies
and
Pevensies need.................Aslan.