Prince Caspian (or, Andrew Adamson learns how to make a movie)

One’s opinion of Prince Caspian will depend greatly on what one is expecting. If you are hoping for a line-for-line book to screen translation of C.S. Lewis’s original material, go watch the Wonderworks version. You’ll enjoy it a lot more (that’s no slight; I enjoyed those as a kid). If, on the other hand, you’d like to see a masterful expansion of the core ideas in Lewis’s book that begins to approach epic, this is a film to watch. SPOILERS follow. If you continue reading, don’t say I didn’t warn you.

Director Andrew Adamson has gotten the hang of things. While The Lion, the Witch, and the Wardrobe strays less from the source material, Prince Caspian is a much better movie.

Adamson and his cowriters have taken many things that Lewis only hinted at and fleshed them out a great deal. Layers have been added to the political struggle between Miraz and his councilmen, as well as to the relationship between Caspian and his uncle. Also fleshed out is the ambivalence of the Narnians about backing a Telmarine prince, descendant of the Conquerer that tried to wipe them out.

Possible (or even probable) character conflicts that were not explored by Lewis are also found here. The friction between Peter and Caspian is a good example. In the book Peter comes right out and assures Caspian that he has no wish to make a play for the throne, and Caspian glibly goes through the story with no unease about four ancient monarchs jumping out of legend just when he is trying to claim his place as king.

While Lewis probably thought these attitudes and actions would serve as good role models for children, a deeper and more mature characterization has benefited the film greatly, and in the end actually emphasizes the desperate need that the Narnians have for Aslan. Because these sons of Adam just can’t seem to get anything right.

Peter is having coming-of-age issues and is understandably troubled by seeing what he considers a foreign invader claiming right to lead the Narnians. Caspian, the rightful king by Telmarine descent understandably feels slighted when he’s shunted to second place when the four Pevensies arrive, and he’s filled with a spirit of vengeance when he finds that Miraz is responsible for his father’s death. This conflict between Peter and Caspian leads to what such conflicts often do: separate agendas resulting in spoiled plans and unnecessary bloodshed.

The cinematography and pacing of the film is far superior to its predecessor. This feels like a film, and not like a random collection of scenes haphazardly strung together. The battles are more convincing, and, as I said before, approaching epic proportions. The effects are more polished. More importantly, I felt that I could connect with the characters better. They are more human and less like cardboard cutout. And not all the characters are so wayward. Lucy serves as the shining light of faith that Aslan is near, and Edmund keeps Peter from veering too far off course.

The only thing that I thought perhaps was overplayed was the attraction between Susan and Caspian. I can understand why they did it (apart from marketing value), and why it works. I was always puzzled about the asexuality of the Pevensies. It is very odd that in all of their years as adults in Narnia, none of them ever marry. If they had produced heirs like other responsible monarchs maybe their kingdom wouldn’t have been overrun by Spanish pirates when they left Narnia.

Now, for the most part, I think the relationship between Susan and Caspian is tastefully done. They are young attractive people, and so the chemistry between them isn’t exactly out of place. Also it makes for a couple great lines (like Lucy to Susan: “What was that? ‘Maybe you’ll need to call me‘?”). But then sometimes it veers off on into a celebration of Hollywood glitz and kitsch. Caspian’s rescue of Susan, while cool, does feel kind of staged.

So what about the message of the film? Is Lewis’s original vision intact? Well, while I think probably Lewis might object to a few things (such as Susan’s active involvement in the battle, though I think he would be happy with Peter and Caspian’s chivalry), the picture of Aslan as savior still shines brightly. As I mentioned earlier, the deeply human flaws we see in the characters only serve to emphasize the need for Aslan. This is no more apparent than at the How (the stone table) where the White Witch is almost brought back from the dead. It becomes very clear. These people are lost without him. Also, Aslan’s absence is felt so sharply that the film very effectively avoids a deus ex machina (the “Dude, where’d the lion come from?” effect) at the conclusion when Aslan finally appears.

Overall, Prince Caspian is a very good effort, and a satisfying film experience. Again, if you’re looking for slavish adherence to the book, you will be disappointed. But if you are open to seeing C.S. Lewis’s story enriched with a complexity not found in the book, this is a film to see. I am no longer worried about Adam Adamson at the helm of Lewis’s classic books. The director has finally figured out how to make a movie, and the series is now in good hands. If the remaining installments show the same level of improvement in movie-making quality, they will become classic films in their own right.

Why don’t they make movies like this anymore?

I have been rediscovering an old favorite of mine, the first epic film I can remember watching. And I mean REALLY epic. How The West Was Won was filmed and released in Cinerama format in 1962. I first watched it when it was on TV. It has been years since I last saw it, but I’m eagerly awaiting a completely remastered and restored release later this year. And that one just might push me over to get Blu-Ray . . . just as soon as Sony finalizes the format.

But enough of that. I am rediscovering the film through its magnificent score by Alfred Newman. From the opening titles, the score conveys powerfully, over the course of the film running the emotional gammut of fun, adventure, struggle, loss, grief, and sorrow. It is truly an overlooked classic. It was my first favorite film score, even before I knew what a film score was.

Listening through the score and remembering scenes from the film reminds me of the incredible scope that the film had, tracing the saga of an American family through three generations. While the song featured in the film bears echoes of manifest destiny, I think the film is careful not to stereo-type the struggle between the Native American and the pioneer of the move West, portraying both sides rather fairly, if a little idealistically.

HOW THE WEST WAS WON
Lyrics by Ken Darby

Promised land the land of plenty rich with gold
Here came dreamers with Bible, fist, and gun
Bound for land across the plains their wagons rolled
Hell bent for leather that’s how the West was won

Stride by stride they tamed the savage prairie land
Nothing stopped them no wind nor rain nor sun
Side by side these pioneers from every land
All pulled together that’s how the West was won

And they sang of the day when they would rest their boots
In a land where the still waters flow
Where the dreams of a man and wife could put down roots
And their love and the seeds of love would grow
(And grow and grow)

Dream by dream they built a nation from this land
Forged in freedom for every mother’s son
Here it is the beautiful the promised land
We won’t forget them and how the West was won

Please sample a few tracks from the score in my player and then go buy the 2-Disc set if you’re impressed with it as I have always been. If you’ve already listened, check the player again. I’ve added a new track.

Main Title

First Meeting

Come Share My Life

No Goodbye

Finale

Some additional notes on the score:

How The West Was Won was awarded an Academy Award for “Best Recording,” which had a great deal to do with how Alfred Newman produced the score. It was apparently one of the first (if not the first) score recorded by close-mic’ing each individual section of the orchestra, which gives the orchestra that sense of presence, increases the scope of the recording, and allows the listener to easily distinguish between the various parts of the orchestra. Since 1962 this recording method has become commonplace for film score recording, it was very innovative at the time.