thoughts while watching Prince Caspian
Mar. 7th, 2009 11:58 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
edenfallingAm watching Prince Caspian. Have just reached the Pevensies' introduction to Trumpkin.
This movie is tripping my embarrassment squick SO HARD. *hides face and hits pause repeatedly to gather emotional strength*
Why are they doing this to me? The book wasn't like this!
(So far the rearrangement of plot elements makes perfect sense from a cinematic point of view, I really like what they did with the Telmarine council, and I love the sibling interaction, but oh my god, Peter, stop being such an idiot.)
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The Pevensies have now met Caspian in the forest.
Peter, seriously, stop being an idiot. I mean it!
Things I am unsure about: the bridge at Beruna being an unfinished bit of military construction (it works within the story the filmmakers are telling, but I'm not certain it was a necessary change); the accents; Peter going after Caspian with a rock; the very fake-looking special effect used to move the trees in Lucy's dream.
Things I like: Caspian being persuasive at the Narnians' meeting; sibling interaction on their hike through the woods; Aslan's non-presence (which really highlights the message about needing to have faith, while also removing some of the sillier deus ex machina aspects of Lewis's writing); Caspian handling himself well in that abortive duel with Peter; Edmund being all WTF? about the presence of the Witch's former minions among the 'good' Narnians; Lucy and Susan's conversation about England and Narnia and faith and whether or not they'll get to stay (which very neatly shows why Susan will turn away later on); multi-racial centaurs!
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OMG! That next scene with Miraz and Glozelle and Sopespian! Politics! Betrayals! Intrigue! Violence! Excuse me while I swoon for a moment.
This is making Glozelle and Sopespian's eventual betrayal of Miraz -- which I assume has survived the adaptation -- so much more understandable and sympathetic. And I think that was a very good choice; just as there is dissention on the Narnian side (Nikabrik, etc.), so there is dissention on the Telmarine side, so both sides of the war are a mix of good and evil. That makes the eventual integration of the two societies much more plausible.
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Oh, Peter's expression looking at the carving of Aslan. My heart broke for him, just a little.
And then Lucy smacks him down! Go Lucy! Except he doesn't listen. *headdesk* Peter, how many times do I have to tell you, stop being an idiot! Also, way to put that centaur -- Glenstorm, I presume? -- into an untenable position between two kings who each have a claim on his allegiance. Very classy, Peter.
Putting Lucy on the Stone Table is very interesting blocking. It's kind of presumptuous, but on the other hand, it highlights her position as Aslan's advocate.
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Okay, I have to pause again and squee over Edmund's flashlight being used as a landing signal/battle sign. That is such a wonderfully creative use of a pre-existing prop! Granted, it's used in service of a sequence that I am not at all sure was necessary -- really, would it have been so hard to have a bridge already finished at Beruna, so Miraz could have attacked Aslan's How and we could have had a big set-piece battle there, as in the book? -- but still, flashlight! *squees madly*
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I must say, I do NOT like what they've done with Reepicheep. He's supposed to be the incarnation of excessive chivalry, not a smart-ass. This is exactly the same thing they did to the Beavers in The Lion, the Witch and the Wardrobe -- turned fairly noble characters into 'modern,' 'edgy' versions of themselves, for no reason! Bah.
The Talking Mice are animated pretty well, though; I will give them that. And Reepicheep has his red feather, which is a nice touch.
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They gave Prunaprismia actual lines! I am in shock! And I like it. Granted, she still has very stereotypical motives (all for her son!), but she has enough sense to go for a crossbow in a moment of crisis, and then the guts to actually use it. She also has enough residual morality to be upset that her husband killed his brother, though that doesn't stop her from siding with him at the sticking point.
Also, the return of the flashlight! Edmund, just because Peter is being an idiot is no reason for you to follow his example. *thwaps Edmund*
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You know, despite his youth, Peter is very sexy while killing people in swordfights. So is Edmund. *is mildly ashamed of own bloodthirstiness and objectification of teenage boys*
Your sexiness does not excuse your idiocy, though, Peter. *thwaps Peter*
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The portcullis just came down. Peter, what have you done?
Also, Susan? Standing around in the middle of a battle going "Oh no, what shall I do?" is NOT HELPFUL. You have a bow and arrows. Why did you not shoot Miraz? (I know, I know, plot requirements, but in that case, filmmakers, why didn't you have her doing something else that was useful instead of making her stand around like a damsel in distress? Double bah.)
Oh! And where were the griffins during the battle? They could have been carrying archers or dropping rocks or torches or doing something other than rescuing Edmund with split-second perfect timing. Speaking of which, I kind of wanted to see Edmund kill the first two or three soldiers sent out after him, before he did his leap of faith thing. That would have proved that he jumped out of rational calculation rather than fear. (I think it was rational calculation anyway, but clarity of motive is always a good storytelling technique.)
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We've arrived back at Aslan's How.
Peter! How many times do I have to say this? STOP BEING AN IDIOT! I understand that you're distraught and guilty and furious, but that is no excuse for shoving all responsibility onto Caspian. You are both at fault here. And it's not your kingdom anymore; it's his now. You keep saying you don't want to be treated as a kid? Then stop acting like one.
But oh, the expression on his face... *weeps*
(This movie is really turning into Peter's story, isn't it? I find that fascinating, since he's a rather 'flat' character in the books -- very archetypal -- and while I don't like having him turned into a petulant teenager, I can't deny that it's a logical development after the first movie, and it does sort of humanize him. I just... I think if humanizing him was the goal, there were other methods they could have used, you know? Less embarrassing and painful ones. Because Peter is meant to be noble and honest and caring and responsible and worthy of his title as High King, and this version of him has lost his true self under a blanket of pain and guilt and anger. It hurts to see him like that.)
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Ha! Trumpkin turns the 'dear little friend' thing back around on Lucy! So cute!
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Dude, that coronation scene is effective cinema.
On the other hand... *counts provinces* Beruna, Galma (I think that's one of the island protectorates?), Nanban (unfamiliar, must research), and Ettinsmoor. Hey, during The Silver Chair, isn't Ettinsmoor an independant province inhabited by giants? They pay tribute after Caspian defeats them in battle, but they're certainly not going to be pledging troops to Miraz. Continuity error for the lose!
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Holy Jesus fuck. That scene. With the Witch. And the temptation.
"You know you can't do this alone," she says to Peter. And then Edmund kills her, and the ice falls away to reveal the carving of Aslan. And Edmund's line, "I know. You had it sorted," is both a rebuke, a callback to the fight at the start of the movie (when Peter was also trying to go it alone, and losing), and, when coupled with the carving, a much-needed wake up call.
And then Caspian, who has just been tempted by the Witch's beauty, turns and sees Susan across the Stone Table.
That is just a wonderfully staged scene all around.
(Lucy leaping at Nikabrik with her dagger, and then Trumpkin killing Nikabrik to save her? That also works. I don't like the visualization of the hag, but that's a minor quibble in such a great scene.)
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Interesting that this version of Doctor Cornelius doesn't seem to have nearly the same degree of faith in Aslan and the kings and queens of old as his book counterpart does.
Also, could Peter have begun to learn his lesson? Please, please, please let him have stopped being an idiot! (The conversation about faith is stronger for being indirect. Most lessons are received best and most lastingly when cloaked in story instead of shoved down your throat as didactic truth... though this does, of course, leave room for a lot of varying interpretations that may not be what the author meant to teach.)
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Caspian suggests single combat instead of Peter. That's... hmmm. On the one hand, the way the dialogue is phrased implies that single combat is an ancient Telmarine tradition rather than a worldwide tradition, so Caspian could just be giving Peter new information. On the other hand, he's also setting up his rival king in a fight to the death. I am not sure the filmmakers intended those implications, but they're very interesting.
Making the challenge public means Sopespian and Glozelle have to be less blatant in their goading of Miraz, but it does wonders for adding to the social pressure on him to accept. And oh, they goad him so well! (And after Miraz's earlier treatment of them, viewers know exactly why they're willing to commit implicit treason by ignoring their conventional military advantage and forcing Miraz to risk his own life instead of anyone else's.)
Edmund is less suave about his mocking, but then, he's out of practice, so I forgive him a bit of youthful awkwardness.
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That bit with Susan, Lucy, Caspian, and the horse is interesting. Susan starts by reacting to him almost the same way she reacted to the geeky boy at the railway station, but then she switches to flirting over the horn. She seems to be conflicted. On the one hand, I don't know whether she wants any male interest (perhaps memories of Rabadash? perhaps a weird anger or shame over looking like a girl again instead of a woman? perhaps just general disgust with the state of her life?), but on the other, Caspian is much more the kind of man she's used to dealing with than any boys in England, and he is handsome and obviously (though subtly) interested in her, which has to be flattering...
Meh. It's unnecessary, but at least it's not overdone so far.
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I take it back; that rescue scene was totally overdone. What is it with turning Susan into a damsel in distress? I mean, yes, in the books she doesn't fight, but she knows that and doesn't put herself into situations where she'd need to be rescued (barring the thing with Rabadash, but everyone else in the diplomatic party needed rescue as well, so that's a bit different). Here they give her just enough independence to seem like a warrior (and that was some very nice shooting!), but fink out at the sticking point and let a man (or a male centaur) come in and save her. Bah humbug.
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And they change Peter's sprained wrist to a dislocated shoulder. Fair enough; they're both a problem in a swordfight. Also, this gives Edmund the perfect method of cutting off Peter's "If I die," speech -- just shove his shoulder back in place before he can get all melodramatic! Edmund, you need to work on controlling your expression while watching your brother fight, but aside from that, good job!
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That was one brutal single combat. And all the better for it! It wasn't pretty or graceful, like fencing -- just two people doing their level best to kill each other with whatever weapons they had to hand. Peter is not above a low blow -- punching Miraz in his wounded thigh -- but unlike Miraz, who implicitly ordered Glozelle to shoot Peter if the fight seemed to go the wrong way, Peter has the honor to step back when Miraz is down and raises his hand. And then Miraz tries to stab him in the back.
It is karmically just that it's because of that maneuver that Peter takes away his sword and runs him through.
And then Caspian refuses to kill him, because he doesn't want to be the kind of ruler Miraz has been. Good on you, Caspian! (And at the same time, no, you idiot -- there is a time and place for nobility and mercy, but surely a clean death is merciful enough? He's just going to stab you in the back like he tried to do to Peter. Oh, ethics, why must you be such a tangle?)
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OMG! Sopespian stabbed Miraz with Susan's arrow! I will bet you anything it's the same arrow Miraz stabbed into the book while ordering him to study history. Prop continuity for the win!
And Glozelle calls the Telmarines to arms, even after he'd just been giving Caspian an almost admiring look. Oh, bother all, why must glorious moments of potential always go wrong? (Yes, yes, canon, I know, but still. They'd made him a more honorable man. Couldn't he have changed just this little bit more? Or couldn't Sopespian have killed Miraz under his own name instead of blaming the Narnians? *sigh*)
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The Narnians had the entire field mined! *squees* You know, I will forgive this movie quite a lot on account of its amazingly realistic (by fantasy film standards) battle scenes. They have actual strategy and tactics and stuff!
But the entrance to the How has been destroyed! Oh no!
(Aslan had damn well better show up about now...)
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And Lucy meets Aslan! Hmm. You know, I do not approve of this line change: "If you were any braver, you would be a lioness." It's meant to be something more like, "Now you are a lioness. Now all Narnia shall be renewed." Which, I grant you, might sound cheesy, but is much more solemn and formal than their version, and Aslan, in my mind, should always have a touch of solemn formality about him, even when he's being joyously playful.
But still, a very nice scene, especially when she tries to play herself up as having always believed he was there, and he rebukes her for not acting on that faith by coming to seek him sooner.
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Edmund fights with two swords! Very sexy. (The fighting, not Edmund! *hides face* He can't be older than 13... well, maybe his actor might be as old as 15 in the film, but still, way too young. It's the swords. They have a bad effect on me.)
Glozelle is reluctant to kill Caspian. I like it! Nonetheless, he hesitates too long. He's a seasoned soldier, for goodness sake; he must have experience at taking action right this moment and pushing any second thoughts aside for later.
The trees are still a terrible special effect. Those roots are just ridiculous, and despite that brief not-quite-face that appeared in the crown of the one that got hit by a catapult (trebuchet? magonel? I fail at archaic military terminology), they do not appear nearly sentient and anthropomorphic enough to jibe with my private visualizations.
The river god is also pretty cheesy.
(On an unrelated note, I feel very bad for Sopespian's poor horse.)
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Yeah, making Reepicheep a cocky swashbuckler as opposed to a stereotypical Arthurian knight (Malory vintage) rather ruins the scene where he gets his tail back. This Reepicheep would not be respected enough by his people for them to cut off their own tails, and I don't think Aslan respects cockiness at all.
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My goodness, those Telmarine townspeople are suddenly very accepting of Narnians! I don't quite believe it. But we're back to fireworks, bringing us full circle to the start of the film -- very nice structural framing.
(Sidenote: I neglected to mention this during Miraz's coronation scene, but that is one tacky crown.)
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Well, sending Prunaprismia and her son to earth is certainly one effective way to remove future political complications from Narnia! (Come to think of it, I really wonder what happened to them in the books. Is Caspian's unnamed cousin his presumptive heir after Rilian is kidnapped? If so, what does he think about Rilian's miraculous return? *fights off sudden urge to write fic*)
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And Peter has definitely learned his lesson! Hurrah! Mind you, I think it was a bit abrupt -- perhaps his change of heart could have been done a touch more clearly while he's staring at the carving of Aslan, or maybe he could have said something during the battle, or on the bank of the river -- but still, I am just relieved that he learned it at all.
I'm not sure I like the exact phrasing of the dialogue with which he sort of cedes responsibility for Narnia to Caspian -- that's much better done in the books, where Peter says, much earlier, something to the effect of "We haven't come to take your throne but rather to restore it to you" -- but again, I'm happy enough that it was said at all.
The Susan/Caspian thing, on the other hand... good grief, what is the point of it? *thwaps filmmakers*
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We're back to England, without any need to change clothes. (That was always a silly part in the book -- they didn't need to change clothes when they went back through the wardrobe, after all!) And Edmund has left his flashlight in Narnia, as per canon (and we know exactly where he left it, too! *grin*), while the geeky boy still thinks Susan's name is Phyllis, which makes him seem rather dim after Lucy called her by her proper name in front of him. Ah well.
Onward to The Voyage of the Dawn Treader... whenever they actually film the blasted story.
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Overall, Prince Caspian was a good movie, aside from the tacked-on romance thing. It was unfaithful to the book in a number of ways, but then again, so was The Lion, the Witch and the Wardrobe, and I think a lot of the changes in Prince Caspian were made with much better reasoning behind them -- the book is structurally all wrong for a film, so changes were inevitable. (Whereas a lot of the chase scenes and the bit on the melting river in The Lion, the Witch and the Wardrobe were blatantly unnecessary.)
Anyway, it's not my personal interpretation of Narnia, but it works well on its own terms, and (again, aside from the romance, and Peter's persistent idiocy) doesn't jar too badly against the story in my head and heart. And as I said, I am willing to forgive an awful lot because of the political maneuvering and the battle scenes! *is not-so-secretly in love with realistic fantasy politics and wars*
This movie is tripping my embarrassment squick SO HARD. *hides face and hits pause repeatedly to gather emotional strength*
Why are they doing this to me? The book wasn't like this!
(So far the rearrangement of plot elements makes perfect sense from a cinematic point of view, I really like what they did with the Telmarine council, and I love the sibling interaction, but oh my god, Peter, stop being such an idiot.)
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The Pevensies have now met Caspian in the forest.
Peter, seriously, stop being an idiot. I mean it!
Things I am unsure about: the bridge at Beruna being an unfinished bit of military construction (it works within the story the filmmakers are telling, but I'm not certain it was a necessary change); the accents; Peter going after Caspian with a rock; the very fake-looking special effect used to move the trees in Lucy's dream.
Things I like: Caspian being persuasive at the Narnians' meeting; sibling interaction on their hike through the woods; Aslan's non-presence (which really highlights the message about needing to have faith, while also removing some of the sillier deus ex machina aspects of Lewis's writing); Caspian handling himself well in that abortive duel with Peter; Edmund being all WTF? about the presence of the Witch's former minions among the 'good' Narnians; Lucy and Susan's conversation about England and Narnia and faith and whether or not they'll get to stay (which very neatly shows why Susan will turn away later on); multi-racial centaurs!
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OMG! That next scene with Miraz and Glozelle and Sopespian! Politics! Betrayals! Intrigue! Violence! Excuse me while I swoon for a moment.
This is making Glozelle and Sopespian's eventual betrayal of Miraz -- which I assume has survived the adaptation -- so much more understandable and sympathetic. And I think that was a very good choice; just as there is dissention on the Narnian side (Nikabrik, etc.), so there is dissention on the Telmarine side, so both sides of the war are a mix of good and evil. That makes the eventual integration of the two societies much more plausible.
---------------
Oh, Peter's expression looking at the carving of Aslan. My heart broke for him, just a little.
And then Lucy smacks him down! Go Lucy! Except he doesn't listen. *headdesk* Peter, how many times do I have to tell you, stop being an idiot! Also, way to put that centaur -- Glenstorm, I presume? -- into an untenable position between two kings who each have a claim on his allegiance. Very classy, Peter.
Putting Lucy on the Stone Table is very interesting blocking. It's kind of presumptuous, but on the other hand, it highlights her position as Aslan's advocate.
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Okay, I have to pause again and squee over Edmund's flashlight being used as a landing signal/battle sign. That is such a wonderfully creative use of a pre-existing prop! Granted, it's used in service of a sequence that I am not at all sure was necessary -- really, would it have been so hard to have a bridge already finished at Beruna, so Miraz could have attacked Aslan's How and we could have had a big set-piece battle there, as in the book? -- but still, flashlight! *squees madly*
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I must say, I do NOT like what they've done with Reepicheep. He's supposed to be the incarnation of excessive chivalry, not a smart-ass. This is exactly the same thing they did to the Beavers in The Lion, the Witch and the Wardrobe -- turned fairly noble characters into 'modern,' 'edgy' versions of themselves, for no reason! Bah.
The Talking Mice are animated pretty well, though; I will give them that. And Reepicheep has his red feather, which is a nice touch.
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They gave Prunaprismia actual lines! I am in shock! And I like it. Granted, she still has very stereotypical motives (all for her son!), but she has enough sense to go for a crossbow in a moment of crisis, and then the guts to actually use it. She also has enough residual morality to be upset that her husband killed his brother, though that doesn't stop her from siding with him at the sticking point.
Also, the return of the flashlight! Edmund, just because Peter is being an idiot is no reason for you to follow his example. *thwaps Edmund*
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You know, despite his youth, Peter is very sexy while killing people in swordfights. So is Edmund. *is mildly ashamed of own bloodthirstiness and objectification of teenage boys*
Your sexiness does not excuse your idiocy, though, Peter. *thwaps Peter*
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The portcullis just came down. Peter, what have you done?
Also, Susan? Standing around in the middle of a battle going "Oh no, what shall I do?" is NOT HELPFUL. You have a bow and arrows. Why did you not shoot Miraz? (I know, I know, plot requirements, but in that case, filmmakers, why didn't you have her doing something else that was useful instead of making her stand around like a damsel in distress? Double bah.)
Oh! And where were the griffins during the battle? They could have been carrying archers or dropping rocks or torches or doing something other than rescuing Edmund with split-second perfect timing. Speaking of which, I kind of wanted to see Edmund kill the first two or three soldiers sent out after him, before he did his leap of faith thing. That would have proved that he jumped out of rational calculation rather than fear. (I think it was rational calculation anyway, but clarity of motive is always a good storytelling technique.)
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We've arrived back at Aslan's How.
Peter! How many times do I have to say this? STOP BEING AN IDIOT! I understand that you're distraught and guilty and furious, but that is no excuse for shoving all responsibility onto Caspian. You are both at fault here. And it's not your kingdom anymore; it's his now. You keep saying you don't want to be treated as a kid? Then stop acting like one.
But oh, the expression on his face... *weeps*
(This movie is really turning into Peter's story, isn't it? I find that fascinating, since he's a rather 'flat' character in the books -- very archetypal -- and while I don't like having him turned into a petulant teenager, I can't deny that it's a logical development after the first movie, and it does sort of humanize him. I just... I think if humanizing him was the goal, there were other methods they could have used, you know? Less embarrassing and painful ones. Because Peter is meant to be noble and honest and caring and responsible and worthy of his title as High King, and this version of him has lost his true self under a blanket of pain and guilt and anger. It hurts to see him like that.)
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Ha! Trumpkin turns the 'dear little friend' thing back around on Lucy! So cute!
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Dude, that coronation scene is effective cinema.
On the other hand... *counts provinces* Beruna, Galma (I think that's one of the island protectorates?), Nanban (unfamiliar, must research), and Ettinsmoor. Hey, during The Silver Chair, isn't Ettinsmoor an independant province inhabited by giants? They pay tribute after Caspian defeats them in battle, but they're certainly not going to be pledging troops to Miraz. Continuity error for the lose!
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Holy Jesus fuck. That scene. With the Witch. And the temptation.
"You know you can't do this alone," she says to Peter. And then Edmund kills her, and the ice falls away to reveal the carving of Aslan. And Edmund's line, "I know. You had it sorted," is both a rebuke, a callback to the fight at the start of the movie (when Peter was also trying to go it alone, and losing), and, when coupled with the carving, a much-needed wake up call.
And then Caspian, who has just been tempted by the Witch's beauty, turns and sees Susan across the Stone Table.
That is just a wonderfully staged scene all around.
(Lucy leaping at Nikabrik with her dagger, and then Trumpkin killing Nikabrik to save her? That also works. I don't like the visualization of the hag, but that's a minor quibble in such a great scene.)
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Interesting that this version of Doctor Cornelius doesn't seem to have nearly the same degree of faith in Aslan and the kings and queens of old as his book counterpart does.
Also, could Peter have begun to learn his lesson? Please, please, please let him have stopped being an idiot! (The conversation about faith is stronger for being indirect. Most lessons are received best and most lastingly when cloaked in story instead of shoved down your throat as didactic truth... though this does, of course, leave room for a lot of varying interpretations that may not be what the author meant to teach.)
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Caspian suggests single combat instead of Peter. That's... hmmm. On the one hand, the way the dialogue is phrased implies that single combat is an ancient Telmarine tradition rather than a worldwide tradition, so Caspian could just be giving Peter new information. On the other hand, he's also setting up his rival king in a fight to the death. I am not sure the filmmakers intended those implications, but they're very interesting.
Making the challenge public means Sopespian and Glozelle have to be less blatant in their goading of Miraz, but it does wonders for adding to the social pressure on him to accept. And oh, they goad him so well! (And after Miraz's earlier treatment of them, viewers know exactly why they're willing to commit implicit treason by ignoring their conventional military advantage and forcing Miraz to risk his own life instead of anyone else's.)
Edmund is less suave about his mocking, but then, he's out of practice, so I forgive him a bit of youthful awkwardness.
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That bit with Susan, Lucy, Caspian, and the horse is interesting. Susan starts by reacting to him almost the same way she reacted to the geeky boy at the railway station, but then she switches to flirting over the horn. She seems to be conflicted. On the one hand, I don't know whether she wants any male interest (perhaps memories of Rabadash? perhaps a weird anger or shame over looking like a girl again instead of a woman? perhaps just general disgust with the state of her life?), but on the other, Caspian is much more the kind of man she's used to dealing with than any boys in England, and he is handsome and obviously (though subtly) interested in her, which has to be flattering...
Meh. It's unnecessary, but at least it's not overdone so far.
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I take it back; that rescue scene was totally overdone. What is it with turning Susan into a damsel in distress? I mean, yes, in the books she doesn't fight, but she knows that and doesn't put herself into situations where she'd need to be rescued (barring the thing with Rabadash, but everyone else in the diplomatic party needed rescue as well, so that's a bit different). Here they give her just enough independence to seem like a warrior (and that was some very nice shooting!), but fink out at the sticking point and let a man (or a male centaur) come in and save her. Bah humbug.
---------------
And they change Peter's sprained wrist to a dislocated shoulder. Fair enough; they're both a problem in a swordfight. Also, this gives Edmund the perfect method of cutting off Peter's "If I die," speech -- just shove his shoulder back in place before he can get all melodramatic! Edmund, you need to work on controlling your expression while watching your brother fight, but aside from that, good job!
---------------
That was one brutal single combat. And all the better for it! It wasn't pretty or graceful, like fencing -- just two people doing their level best to kill each other with whatever weapons they had to hand. Peter is not above a low blow -- punching Miraz in his wounded thigh -- but unlike Miraz, who implicitly ordered Glozelle to shoot Peter if the fight seemed to go the wrong way, Peter has the honor to step back when Miraz is down and raises his hand. And then Miraz tries to stab him in the back.
It is karmically just that it's because of that maneuver that Peter takes away his sword and runs him through.
And then Caspian refuses to kill him, because he doesn't want to be the kind of ruler Miraz has been. Good on you, Caspian! (And at the same time, no, you idiot -- there is a time and place for nobility and mercy, but surely a clean death is merciful enough? He's just going to stab you in the back like he tried to do to Peter. Oh, ethics, why must you be such a tangle?)
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OMG! Sopespian stabbed Miraz with Susan's arrow! I will bet you anything it's the same arrow Miraz stabbed into the book while ordering him to study history. Prop continuity for the win!
And Glozelle calls the Telmarines to arms, even after he'd just been giving Caspian an almost admiring look. Oh, bother all, why must glorious moments of potential always go wrong? (Yes, yes, canon, I know, but still. They'd made him a more honorable man. Couldn't he have changed just this little bit more? Or couldn't Sopespian have killed Miraz under his own name instead of blaming the Narnians? *sigh*)
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The Narnians had the entire field mined! *squees* You know, I will forgive this movie quite a lot on account of its amazingly realistic (by fantasy film standards) battle scenes. They have actual strategy and tactics and stuff!
But the entrance to the How has been destroyed! Oh no!
(Aslan had damn well better show up about now...)
---------------
And Lucy meets Aslan! Hmm. You know, I do not approve of this line change: "If you were any braver, you would be a lioness." It's meant to be something more like, "Now you are a lioness. Now all Narnia shall be renewed." Which, I grant you, might sound cheesy, but is much more solemn and formal than their version, and Aslan, in my mind, should always have a touch of solemn formality about him, even when he's being joyously playful.
But still, a very nice scene, especially when she tries to play herself up as having always believed he was there, and he rebukes her for not acting on that faith by coming to seek him sooner.
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Edmund fights with two swords! Very sexy. (The fighting, not Edmund! *hides face* He can't be older than 13... well, maybe his actor might be as old as 15 in the film, but still, way too young. It's the swords. They have a bad effect on me.)
Glozelle is reluctant to kill Caspian. I like it! Nonetheless, he hesitates too long. He's a seasoned soldier, for goodness sake; he must have experience at taking action right this moment and pushing any second thoughts aside for later.
The trees are still a terrible special effect. Those roots are just ridiculous, and despite that brief not-quite-face that appeared in the crown of the one that got hit by a catapult (trebuchet? magonel? I fail at archaic military terminology), they do not appear nearly sentient and anthropomorphic enough to jibe with my private visualizations.
The river god is also pretty cheesy.
(On an unrelated note, I feel very bad for Sopespian's poor horse.)
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Yeah, making Reepicheep a cocky swashbuckler as opposed to a stereotypical Arthurian knight (Malory vintage) rather ruins the scene where he gets his tail back. This Reepicheep would not be respected enough by his people for them to cut off their own tails, and I don't think Aslan respects cockiness at all.
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My goodness, those Telmarine townspeople are suddenly very accepting of Narnians! I don't quite believe it. But we're back to fireworks, bringing us full circle to the start of the film -- very nice structural framing.
(Sidenote: I neglected to mention this during Miraz's coronation scene, but that is one tacky crown.)
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Well, sending Prunaprismia and her son to earth is certainly one effective way to remove future political complications from Narnia! (Come to think of it, I really wonder what happened to them in the books. Is Caspian's unnamed cousin his presumptive heir after Rilian is kidnapped? If so, what does he think about Rilian's miraculous return? *fights off sudden urge to write fic*)
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And Peter has definitely learned his lesson! Hurrah! Mind you, I think it was a bit abrupt -- perhaps his change of heart could have been done a touch more clearly while he's staring at the carving of Aslan, or maybe he could have said something during the battle, or on the bank of the river -- but still, I am just relieved that he learned it at all.
I'm not sure I like the exact phrasing of the dialogue with which he sort of cedes responsibility for Narnia to Caspian -- that's much better done in the books, where Peter says, much earlier, something to the effect of "We haven't come to take your throne but rather to restore it to you" -- but again, I'm happy enough that it was said at all.
The Susan/Caspian thing, on the other hand... good grief, what is the point of it? *thwaps filmmakers*
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We're back to England, without any need to change clothes. (That was always a silly part in the book -- they didn't need to change clothes when they went back through the wardrobe, after all!) And Edmund has left his flashlight in Narnia, as per canon (and we know exactly where he left it, too! *grin*), while the geeky boy still thinks Susan's name is Phyllis, which makes him seem rather dim after Lucy called her by her proper name in front of him. Ah well.
Onward to The Voyage of the Dawn Treader... whenever they actually film the blasted story.
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Overall, Prince Caspian was a good movie, aside from the tacked-on romance thing. It was unfaithful to the book in a number of ways, but then again, so was The Lion, the Witch and the Wardrobe, and I think a lot of the changes in Prince Caspian were made with much better reasoning behind them -- the book is structurally all wrong for a film, so changes were inevitable. (Whereas a lot of the chase scenes and the bit on the melting river in The Lion, the Witch and the Wardrobe were blatantly unnecessary.)
Anyway, it's not my personal interpretation of Narnia, but it works well on its own terms, and (again, aside from the romance, and Peter's persistent idiocy) doesn't jar too badly against the story in my head and heart. And as I said, I am willing to forgive an awful lot because of the political maneuvering and the battle scenes! *is not-so-secretly in love with realistic fantasy politics and wars*
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(no subject)
Date: 2009-03-08 05:44 am (UTC)(no subject)
Date: 2009-03-08 06:20 am (UTC)*returns to watching movie*
(no subject)
Date: 2009-03-08 06:54 am (UTC)(no subject)
Date: 2009-03-08 08:04 am (UTC)On another note, Caspian is more believable as a battle leader if he's a touch older. The ridiculous youth of the Pevensies could be handwaved in The Lion, the Witch and the Wardrobe because of the prophecy and the lack of a native human population, but I do think it would be very politically awkward for a 13-year-old boy to rule the Telmarines in his own right. Aslan or no Aslan, the great lords would almost certainly saddle him with a regent within a year, and shuffle him out of active power as quickly as possible. If he's 18, Caspian has a much better chance of avoiding that sort of social maneuvering.
(no subject)
Date: 2009-03-08 10:02 am (UTC)(no subject)
Date: 2009-03-08 12:54 pm (UTC)(no subject)
Date: 2009-03-08 06:56 am (UTC)((loves Edmund)) ((thwaps Caspian and Peter, repeatedly))
(no subject)
Date: 2009-03-08 08:04 am (UTC)(no subject)
Date: 2009-03-08 04:13 pm (UTC)(no subject)
Date: 2009-03-08 06:08 pm (UTC)