Alice In Wonderland is similar to Avatar in many ways. It's directed by a visionary genius, it's another 3D extravaganza that's largely animated showcasing a spellbinding and elaborately realized fantasy world. There's also the usual mythological narrative of an 'chosen' outsider intervening in the well fair of an oppressed world. Which means its rich, intricate universe and ageless story is food for the eyeballs.
But Alice unfortunately shares some flaws with Cameron's blockbuster; a script that could be improved upon and a lead actor that, while adequate, didn't have to spend all of their onscreen time concentrating on an unfamiliar accent. Alice in Wonderland rambles somewhat, a trait that used to be present in Burton films of old, but has crept back in there with Alice. It's almost like many scenes were improvised, especially those involving the Mad Hatter, and they go on a bit too long with little focus or proper gags. The fact that this version of Alice In Wonderland isn't a direct adaptation of C.S Carroll's classic book, or it's follow up, Through The Looking Glass, but a combination of both re-imagined into a sequel story of sorts, doesn't bother me at all. I'm not familiar enough with the books, or the previous movie adaptations, to be prejudiced for or against this approach, except to say it reminds me of Spielberg's Hook, which is similarly structured. Mia Wasikowska isn't strong enough to convince of her journey from timid, daydreaming socialite to warrior, independent woman and business partner. Her Alice is supposed to unassuming and introverted but, like poor Sam Worthington, doesn't seem to be able to express or internalise the emotion required to a satisfying level.
Still, like Avatar, it's not enough to dampen a fun experience. The supporting cast are on top form, notably Helena Bonham Carter as the Red Queen (channelling Blackadder's Queenie), Paul Whitehouse as the March Hare (bonkers beyond words) and, of course, Johnny Depp as the Mad Hatter. The Hatter is initially presented with a reserved, softly spoken English accent but is soon replaced by a rougher Scot's accent. I first thought I'd misheard Depp, but it turns out the actor uses both accents due to the Hatter being, well, mad!
The effects are top notch while Danny Elfman's score, his 14th collaborating with Burton, is his best since the early 2000's. The man seems to have dropped his distinctive orchestrations of late, and turned into another bland Hans Zimmer clone (Terminator Salvation, Hellboy II, Wanted) but here he produces an old fashioned score with no electronics, making it one of the best in his portfolio, and which raises the entertainment level several notches.
So, like Avatar, not the director's masterpiece but frustratingly the elements were here to achieve it. A sharper script and a better actress might have pulled this into classic status. However, as it stands, this is still one of the most entertaining and beautiful looking films you'll see this year.
1 comment:
I really liked this. But then I love a bit of Burtonesque weirdness...and Alice is a prime example. A visionary director is matched with the perfect visual material.
I'm mildly familiar with the original Lewis Carroll tale and its sequel. Burton’s film mixes and matches characters and situations from each one as well as introducing some new stuff (the whole Alice the chosen one thing). But I look at it that this is Tim Burton's Alice in Wonderland, his take on Carroll’s legendary nonsense tales. And in its own bonkers and visually surreal and arresting way, it works great. However, I do have to agree about Mia Wasikowska. She was certainly a weak link here and didn't at all sell the character of Alice. It's a good job she's surrounded by some top notch talent firing on all cylinders to distract us with Helena Bonham-Carter's Red Queen and Paul Whitehouse's March Hare being the best. Of course Johnny Depp is very good as the Mad Hatter in what is a more prominent role than in the books.
But the real star of the film is Burton and his unique visual styling. Alice in Wonderland looks amazing and is a feast for the eyeballs. It may not be perfect (no Burton film is) but you have to love the unique oddness of what Tim B has once again made mainstream.
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